Everyday Heritage Grants: Celebrating Working Class Histories

The ways we mark and recognise the past in our public spaces are a powerful and emotive tool for understanding and interpreting history, but not everyone’s stories are told and not everyone’s history is remembered.

The Everyday Heritage Grant projects will help us to further our collective understanding of the past. They are designed to build on Historic England’s commitment to inclusion, diversity, and equality of opportunity in all our work. You can find out more in our Strategy for Inclusion, Diversity, and Equality.

The grants are for projects that focus on heritage connecting people to historic places, specifically those people and places that are overlooked or underrepresented.

Building on the success of our first round of Everyday Heritage Grants in 2022, and our second round in 2023, we continue to be interested in projects that celebrate working class histories and the historic places that make up everyday life.

In the previous rounds of Everyday Heritage Grants, the majority of the applications we received, and the projects we funded were based in large urban areas.

To address this, in the third round, we will only be funding projects about buildings and places in rural and coastal locations.

For rural locations, the building or place must be in a location with fewer than approximately 10,000 people living there.

Locations might include hamlets and isolated dwellings, villages, small towns, farmland, and unfarmed landscapes such as moorland.

For coastal locations, the building or place must be within approximately 1 kilometre of a coastline.

By building or place, we mean:

• a building or series of buildings or structures
• a site like a park, farm, street, neighbourhood, estate, archaeological site, or shipwreck
• the former site of any of the above

We do not want to fund projects that:

• are national (such as ‘a history of farming in England’)
• cover a whole region (such as ‘the shipbuilding industry in the North East’)
• are about a whole city (such as ‘social clubs of Plymouth’)

The buildings or places do not need to be listed for applications to be eligible for a grant. By listed, we mean any building or place which is protected, either by Historic England, or on a local list.

We want to fund projects that recognise and/or celebrate:

• Places where ordinary people work and live
• Working class communities
• Work and workers
• People from lower socio-economic backgrounds
• Heritage related to places with low social mobility
• Leisure and pastimes for working class people
• Social housing
• Industrial heritage
• Community heritage

The projects must:

• have co-creation at their centre
• allow people to share overlooked or untold stories of the places they live, work, and play in creative ways
• encourage communities and local people to learn more about their local historic places and tell their own stories about them in their own ways
• contribute positively to participants’ wellbeing and/or health
• address barriers faced by local people when engaging in heritage projects
• help Historic England to broaden the public’s understanding and knowledge of different types of heritage, and to promote enjoyment of local heritage

✔ Grant recipients must co-create the work with relevant communities; we value the process as much as the outcome

✔ The product and the process must have accessibility at their core, applications should demonstrate consideration of disabilities and other barriers to access

The outputs or products of the project should be decided with the community you co-create the project with. In previous rounds, Everyday Heritage Grants project outputs have included: murals and public artworks, oral history collections, documentaries and films, musicals and songs, poetry and other written responses, community gardens, skills-building workshops.

In addition to any outputs your co-creators might decide on, we will also require:

• A case study of your project: up to 750 words, we will provide a template for this, we may use your case study on our Inclusive Heritage Advice Hub
• Five high-quality images of your project: the images should show people engaging with your project with the correct permissions, we will provide model release form templates for this, these images may be used by HE to promote future Everyday Heritage Grants and other inclusive heritage projects.
• Evaluation data: this should be the data from a participant survey, we will provide a survey and guidance for conducting this, you should aim to survey all active participants in the project, this number will vary from project to project.

As a result of the Everyday Heritage projects:

• Participants will feel a greater connection to the place where they live or work
• Participants and/or audiences will have a greater appreciation or understanding of diverse working class heritage, and/or feel that their local stories are recognised and valued
• Participants will co-create the projects and have the opportunity to develop, shape and make decisions about how their local heritage is recognised or celebrated
• Barriers to engaging with heritage faced by participants will be recognised and addressed
• Participants will see an improvement in their wellbeing and/or develop skills, social connections or confidence through active participation

✔ All organisations are eligible to apply including community interest groups, charities, and local authorities. Individuals can apply if they are registered as sole traders.

✔ We are especially interested in applications from groups and individuals that are not heritage organisations but can deliver heritage projects. While we are willing to fund proposals with links to established heritage institutions, we are especially interested in funding community-led projects.

✔ We are particularly interested in supporting projects that represent diverse and minority ethnic communities, LGBTQ+ people and disabled and neurodiverse people.

✔ We will consider applications from previous Everyday Heritage Grants recipients, providing the project is not an extension or continuation of the previously funded project. Applicants will need to work on a new project, celebrating a different story and place, ideally with different outcomes or approaches.

✔ Previous unsuccessful applicants are also welcome to apply but projects will need to take into account the changes to the criteria for this round.

x Please note these grants are not designed to fund reinterpretation of museum collections, but rather are to fund projects to uncover people’s stories in relation to buildings or places. The buildings or places do not need to be listed for applications to be eligible for a grant. By listed, we mean any building or place which is protected, either by Historic England or on a local list.

x These grants are not for capital work – by capital work, we mean construction, modifications, or renovations to the structure of a building or place

x We will not fund any projects where the only outcome is a book or other printed publication.

Use this checklist to ensure your project is eligible.

• Does your project relate to working class histories?
• Does your project have a strong connection to place?
• Is your project based on a building or place in a rural or coastal location?
• Will your project cost up to £25,000? Please note we are also looking to fund several smaller projects under £10,000.
• Does your project centre around co-creation?
• Does your project take into consideration barriers to access and how to overcome these?
• Will your project have a positive impact on participants?

Please note:

Grants will be administered via standard Historic England grant funding agreements. If you are a sole trader, rather than a limited company, association or partnership, you will need to complete an Employment Status Questionnaire (a requirement of Historic England by His Majesty’s Revenue and Customs) and provide confirmation from HMRC of your registered self-employed status.

All applicants funded by Historic England must be IR35 compliant. This means that contractors should be able to demonstrate that the correct tax is paid and that National Insurance Contributions are attributed correctly.

Should your proposal be successful, it is Historic England’s standard anti-fraud procedure to ask any new payee to provide us with confirmation of the bank details that funds are to be paid into on a document issued by the bank, such as a paying-in slip or a bank statement with any sensitive information redacted.

• We have a total budget of £500,000 for this work
• We will accept proposals for projects with costs of up to £25,000 but we are particularly keen to fund a number of smaller projects up to £10,000
• Projects at a lower cost will not automatically be looked at more favourably, the overall strength of the project is the key factor
• We do not require match funding, but partnership funding or in-kind/volunteer contributions are encouraged
• Please don’t add contingency to your budget. Possible contingencies should be identified in the risk log and necessary funds can be applied for later via Historic England’s Variation Request process

Assessment criteria for proposals will be based on:

• How your project connects to a building or place in a rural or coastal location
• How the project reveals overlooked working class heritage stories
• The extent to which the project is meaningfully co-created with communities
• How you have demonstrated that you will overcome project specific barriers to participation and engagement
• How your project will positively impact on people who are involved in it
• Realistic and achievable methods that will deliver the aims and outcomes
• Realistic costs, timescale, and value for money

1. Read through this document and the application form
2. Check that your idea is eligible for funding against the eligibility checklist
3. Complete the application form in your preferred format*
4. Complete the costs outline spreadsheet
5. Submit your application

* you can submit your application form and budget spreadsheet (we will not be accepting any additional supporting documents) in the following formats:

• By emailing the application form and budget spreadsheet as attachments to [email protected] (our preferred option)
• By printing out your completed application form and budget spreadsheet and posting it to:
  
  Everyday Heritage Grants
  Public Engagement
  Historic England
  4th Floor
  Cannon Bridge House
  25 Dowgate Hill
  London EC4R 2YA

Please note we are not able to open Mac format files, please use an open office format.

We are happy to make reasonable adjustments to make the application process as accessible as possible. If you would like to explore alternative ways to apply, please email [email protected]

Proposals must be submitted by 11.59pm, Monday 7 October 2024.

Applicants will be informed of the decision in November 2024.

Projects can start as soon as a contract has been signed and should aim to be complete by 31 July 2026. Please note, the project does not need to run for the full duration, you may want to start later and/or end sooner.

Timeline

Friday 16 August 2024: Launch of Everyday Heritage Grants

11.59pm, Monday 7 October 2024: Closing date – all proposals need to be submitted by this date and time

November 2024: Successful applicants notified, comments and revisions to applications requested if necessary

November 2024: Unsuccessful applicants notified – please note we won’t be able to give feedback due to the anticipated volume of applications

Late January 2025: Announcement of successful projects

January 2025 – July 2026: Project delivery

Through these grants we want local and diverse communities to have opportunities to connect with others, to tell stories relating to their places in their own ways, and to be involved throughout the projects.

We know from feedback from previous rounds of Everyday Heritage Grants, that many applicants underestimate the time and effort required to ensure strong buy-in, support, and engagement with communities, so please be realistic and allow time and resources for doing this, especially if it’s not a group you already have a strong relationship with.

When we talk about co-creation, we mean:

• Communities must be involved in producing and shaping the outputs of the projects
• Communities are involved in decision-making about the subject and processes of a project, and decide what it is they want to get out of it, they might be supported by facilitators to do this
• That projects are built around mutually beneficial relationships between communities, facilitators and contributors
• Where everyone involved plays an active role and their expertise is treated equally
• Where the process is valued as highly as the product
• That everyone involved can feel proud
• That has lasting legacies for those involved

We do not mean:

• Communities are just an audience or consumers of an output or product
• Communities are just subjects to be interviewed, photographed or filmed
• Communities are invited to participate in admin or support roles, but not help make decisions and shape the project
• Communities create work (such as artworks) that inform the project, but it is only professionals who make the final product

At Historic England, Active Participation is our strategic approach toward working together with more people, and a more diverse range of people, to take action in support of the historic environment.

We are approaching these grants with the following values:

• Everyone has a right and a role to play in caring for and shaping heritage and our historic environment
• A passion for heritage begins with delight and wonder, not necessarily knowledge and facts
• There are many routes into a passion for, or engagement with, the historic environment and heritage
• People alongside us are a source of energy and fun to help get projects going, and a source of resilience for carrying on

There are many reasons why communities, especially those who are underrepresented in heritage, do not engage or get involved with heritage projects.

These might include:

• Financial barriers (such as the cost of transport, capacity to volunteer their time)
• Physical barriers (such as buildings with no wheelchair access or hearing induction loops)
• Childcare or other caring responsibilities
• Cultural barriers (such as language barriers, or projects which do not include particular cultural or religious considerations)
• Barriers of ‘this is not for me’ (for example: ‘projects like this are not for people like me’, ‘I don’t see anyone that looks like me in heritage, or my local area’, or ‘I’m intimidated because I don’t think I know enough’)
• Technology barriers (for example: access to the internet, knowledge of how to use particular software or hardware)

In your application, you will need to demonstrate that you have considered what the potential barriers might be for people to get involved with your project. You don’t need to address all of the above, and we will definitely have missed examples, so just identify the barriers that may apply to your project and explain how you aim to overcome those to ensure as many people as possible can get involved.

In previous rounds of the Everyday Heritage grants, the most successful projects have aimed to address very specific barriers faced by the community they are co-creating with, rather than trying to address all of them.

We want these grants to have benefits for people as well as places. This might include learning new skills, developing social connections, or it could be that the project will positively impact on people’s wellbeing or physical/mental health.

You should base your intended outcomes for participants on the following:

• Local community needs
• Local wellbeing or health priorities
• The needs of particular communities

Read Historic England’s Wellbeing and Heritage Strategy

You can find out about local wellbeing and health needs using public health data and other sources of data about health inequalities, you might want to look at:

• The Office for Health Improvement and Disparities, could potentially help you understand which communities are most affected by health inequalities in your area.
• Local Health Public Health data for small geographic areas.
• Health Inequalities Dashboard.

You could work with local health, VCFSE (voluntary, community, faith, or social enterprise organisations), and local authority partners, who will have local health data and will be able to help you to identify, understand and address local needs.

You should think about how your project will capture the impact on people’s wellbeing and/or health as a result of their involvement.

For questions about the project including the application process and deadlines please get in touch by emailing:

[email protected]

Due to the anticipated volume of interest in these grant opportunities, we are unable to take phone calls. Please don’t get in touch with regional offices or customer services, you will get a quicker response if you contact us using the above email address.

You can find the budget spreadsheet here.

The first sheet of the document is a blank spreadsheet to be completed, the second sheet gives an example of a completed spreadsheet, key definitions, and frequently asked questions.

Please do not change the formulas in the spreadsheet.

As part of the reporting process, we ask recipients to outline any learnings, feedback or recommendations from their experience. Below we have compiled the ten most common tips from previous rounds of Everyday Heritage Grants:

1. Working with partners
   Most recipients worked in partnership with other organisations, including local authorities, universities, churches, museums, or charities working with specific communities. It is important to ensure, ahead of starting your project, that any partner organisations are aware of the time and work commitment needed for the project, and to ensure that all partners have shared aims and outcomes.
2. Making your budget work
   In your budget, it is important not to include a ‘contingency/unexpected costs’ line. We would need to make an assessment on how your project is budgeted and have a clear picture of what your costs relate to. We understand, that if successful, there might be unexpected costs to your project, such as the Cost-of-Living crisis and inflation. These changes to a budget can be discussed with your Project Assurance Officer. It is important to ensure that the grant total you ask for is enough for the planned work and that you have carefully considered staff time and other expenditure items.
3. Working with schools
   If you plan to work with schools, it is important to consider whether there is enough space in the school’s timetables and curriculum to fully take part in the project. Make sure you contact schools and teachers before applying for the Everyday Heritage Grant to ensure that they are on board and able to take part.
4. Time and work commitments
   Everyday Heritage grants can, depending on the size and aims of your project, be a large time and work commitment. It is important to ensure that your project is realistic and appropriately budgeted for.
5. Permissions
   Some Everyday Heritage grant projects involve legacy outputs such as the planting of new trees, the opening of new market stalls, or the creation of permanent public art. These outputs often require permissions from relevant authorities and it is the recipient, not Historic England, who is responsible for getting these. This can sometimes take a long time so we encourage applicants to start conversations about permissions as soon as possible and to ensure that this is recognised on the risk register and that there are mitigations in place.
6. Realistic community goals
   When co-creating it is better to work with communities you have already established a relationship with or work in partnership with an organisation that has direct connections to the community. Co-creation is at the heart of Everyday Heritage grants, and community members should be involved at every stage of your project. Building relationships, trust, and buy-in from communities takes time.
7. The outdoors
   Make sure you consider the weather when planning events that take place in the outdoors. This could be the planting of trees, archaeological excavations, or community events in parks. Large delays can occur if important parts of the project are rained off with no alternative plan in place, which can create difficulties in meeting the timeline of the grant. Make sure you consider who you are working with and the accessibility of outdoor spaces too. Include weather in your risk register, and don’t forget that hot weather can be just as disruptive as rain.
8. Participant appropriate outputs
   When deciding the outputs of your project, you should consider what the most appropriate media output is for the demographics you aim to work with. Some projects, for example, have found that while they had planned to create oral history-based podcasts and online films, a large portion of their participants and audiences were more interested in less-technology-heavy media. Your outputs should always be led by your community co-creators to ensure that they are most appropriate.
9. Time to plan and evaluate
   If you are successful in your application, allow plenty of space in your timeline at the beginning and end of the project. Getting projects off the ground can take time owing to the different organisations, people, venues, and community members involved, many recipients underestimated this. It is important to allow for this initial phase, as well as planning for enough time at the end of the project for final reports and evaluations to be written and submitted to Historic England.

Historic England will provide some simple surveys and guidance to successful recipients. We will ask recipients to survey their participants at the beginning and the end of the project. The recipient’s role will just be to gather data. Historic England staff will be available to advise and support this data gathering. This is intended to be light touch and not burdensome on you or your projects.

You may wish to do your own evaluation of your project too, and might consider allocating time and budget for this. In your task list, and on the budget spreadsheet, please allow one day to support us with evaluation, and include any other evaluation you may want to conduct yourself.

We ask that you share the news of your project and our funding with people and key stakeholders whenever you can. We encourage grant recipients to publicise their projects by reaching out to the media, promoting on social media (e.g., Twitter/X, Facebook), and contacting your local MP.

We will provide recipients with access to a toolkit for acknowledging the grant.

We encourage you to do this both during your project and after to celebrate what you have achieved.

Historic England will provide a Communications Toolkit, designed to help you achieve creative and effective publicity for your project.

Please note

The Historic England Media Team will be making a public announcement about the organisations that are successful in receiving grant funding. If you are offered funding and plan to share the news externally about your grant, please do not do so before this Historic England announcement. We will let you know about dates and plans so that we can coordinate, and cross promote.

Grants will be administered by the Historic England Grants Team. Project Assurance and routine monitoring of standards, progress, and expenditure will be undertaken by a Historic England Project Assurance Officer (PAO) who will also provide you with guidance throughout the project, but applicants should note the PAO will not manage the project. All proposals should include a named individual, such as the project manager, who is ultimately responsible for the delivery of your project.

You will be expected to produce highlight/progress/risk reports at appropriate points throughout your project as detailed in your agreement. How often you submit these reports will be decided depending on the length and value of your project. We will also expect you to keep accurate financial records of your spend against the budget and to submit a report at the end of the project which includes evaluation and lessons learnt.

Ownership and copyright of project outputs will rest with you; however, Historic England will be granted an in perpetuity, royalty-free licence to use or sub-licence project outputs. Terms of licencing will be agreed in your contract agreement, and are expected to cover a range of uses including:

• Promotion of the project by Historic England online, via social media, and in print
• Promotion of the project through the media

Model release forms will be required for anyone taking part in video, audio recordings, or photography in line with General Data Protection Regulations (GDPR). Forms can be supplied by Historic England and should be completed and submitted with all final project outputs.

Please note, this section is just for information. We do not expect you to address each of these areas in your application.

As well as directly aligning with our statutory remit to promote the public’s enjoyment of, and advance their knowledge of, heritage and the historic environment, these grants will help to support our Inclusion, Diversity, and Equality Strategy. This includes our priority outcome of: ‘A greater diversity of people engage with the historic environment through the work we do and the programmes and organisations we fund’ and our ambition: ‘People from every community will be able to see their own culture and heritage represented in the work of Historic England and feel that the historic environment is relevant to them.’

This work also supports Historic England’s Wellbeing and Heritage Strategy, Future Strategy, and Corporate Plan and will deliver against all three of the Future Strategy focus areas: Thriving Places, Connected Communities, and Active Participation.

Historic England has adopted a Public Value Framework (PVF) to assure its stakeholders, including the public, that it invests public money in ways that give the most value. Historic England's Public Value Framework is based on the 2017 report ‘Delivering better outcomes for citizens: practical steps for unlocking public value’ (Barber, Nov 2017). All projects will need to deliver public value.

LGBT+ Northern Social Group (NSG) defines drag as performance that explores, plays with, or challenges traditional presentations, expressions of, and ideas about, gender.

This project will look at the working class history of drag in the “Pink Triangle”, also known as the Gay Village area of Newcastle. Framing drag as a folk art with roots in Musical Hall “dandy”/ “fop” performers and 20th-century drag in working men’s clubs, up to the contemporary DIY drag scene.

The volunteer-led LGBTQIA+ NSG group includes around 2,600 members from the North East of England. It will promote and coordinate community workshops to encourage members to conduct personal research and creative activities building towards outcomes including online and in-person elements, such as an online exhibition and live drag performances.

Exploring the former site and surroundings of the legendary Quadrant Park nightclub, Queue Up And Dance aims to uncover the histories of working class life, labour and leisure in Bootle in the 1980s and 1990s.

The club was demolished in 1992, and with nothing at the site hinting at its history, the legacy of Quadrant Park is in danger of being lost.

Rule of Threes Arts is a locally-rooted arts organisation that supports communities in making creative projects about what matters to them. Working in partnership with Sefton Libraries and artists Dave Evans and Melissa Kains, the project brings together those who frequented the club in the 1980s and 1990s, and young people living in Bootle today, creating intergenerational links and engaging people in Bootle’s local heritage.

The project will share their discoveries online, in an exhibition, and through an event that will be a key moment in Sefton’s Borough of Culture 2025.

To celebrate the 70-year history of the Leicester Caribbean Cricket and Social Club, this project aims to create an interactive walking trail with up to 10 plaques placed at sites around the city significant to the club.

QR codes on the plaques will link to filmed oral history videos on a newly developed website alongside historical images and interview transcripts.

A local historian familiar with the Caribbean community will conduct interviews with long-time club members to create short-form videos focused on themes like founding stories, sporting triumphs, community events, and personal memories. These plaques will appear at locations like the longstanding clubhouse on Ethel Road.

Members' stories will spotlight how the club nurtured Caribbean fellowship and activism from its founding in 1957 to today.

This project will preserve the living heritage of this important community institution and make it accessible through interactive technology. Club members, especially younger members, will feel pride in their legacy and the wider Leicester community will gain insight into Caribbean and South Asian experiences and the club's role in building cross-cultural bonds.

Cardboard City – a makeshift encampment made from hundreds of cardboard boxes in the underpasses between Waterloo Station and the South Bank – sheltered thousands of rough sleepers over the course of around 20 years in the 1980s/’90s.

As public consciousness of Cardboard City begins to fade, and many of those who lived there are in poor health or have since died, St John's Waterloo and The Bridge At Waterloo are working to remember and memorialise this history and the ephemeral and neglected heritage of homeless people in the area.

Led by artists and people who have experienced homelessness, this project will sensitively engage with individuals who lived in Cardboard City, those who provided support to its inhabitants, and local residents. Participants will shape the outcomes of the project which will involve research and documentation of narratives, individuals, and objects linked to Cardboard City.

This project is centred around the co-creation of a touring exhibition that tells the story of Gypsy, Roma and Traveller (GRT) communities living in Greensand Country, in Central Bedfordshire.

Full House is a child-focused charity and arts organisation that is based in the heart of Greensand Country. The year-long project will take place on three local sites, where children and families from GRT communities will be creating content alongside visiting artists, forming a body of work to be shared with the public.

Listening to the voices of communities is at the centre of Full House’s co-creation process and in the early stages of the process they will spend time with GRT families to identify artists they would like to collaborate with. This will be an important part of developing effective creative partnerships so that communities can share the stories they want to tell.

The final output will be an exhibition, co-created and curated with participants, that will tour three local libraries.

Revealing the stories of those who worked at the C&T Harris Bacon Factory, this project will work with former employees to create an archive of oral history exploring the work, life and friendships of these factory workers.

Operating for over 200 years, the C&T Harris Bacon Factory opened in the 1770s and was demolished in the 1980s. The project will be led by Yesterday’s Story, supported by the volunteers of Calne Heritage Centre and archived at the Wiltshire and Swindon History Centre.

Volunteers will collect oral histories from the former workers and present them to the local community in an accessible way. Despite the factory no longer existing, it was a huge part of Calne’s identity and is still renowned today. Yesterday’s Story wants to capture the history of those who worked at the factory before their stories are lost forever.

• Full House Theatre, Gypsy and Traveller Tales in Greensand Country, £18,950.00
• Nene Park Trust, Digging Down, Building Up, £19,600.00
• Red Rose Chain, Tooley's Almshouses, £9,889.00
• The Seagull Lowestoft CIC, LANTERN, £9,566.00
• SPILL Festival Ltd, Untitled Ipswich Caribbean Centre Project, £10,000.00

• The Bridge at Waterloo, The Lost City of Cardboard: A Homelessness Heritage Project, £24,950.00
• China Exchange (UK), 40 Years, 40 Stories: The Everyday Heritage of People Working in London’s Chinatown (1985-2025), £24,856.00
• East Kent Mencap, A Day in the Life of, £7,510.00
• Eastside Community Heritage, Echoes from the Bridge, £21,196.00
• House of Dread, House of Dread: Rastafari Community Project, £24,980.00
• Kingswood Arts, Seasons of Kingswood Life, £25,000.00
• Lifesize CIC, Ponswood Stories, £12,300.00
• London Borough of Tower Hamlets, Communities of Liberation, £24,779.00
• Marlborough Theatre Productions Ltd, Revealing St James’s Street working class LGBTQIA+ heritage, £24,900.00
• The Old Fire Station, Stoke Newington, The Old Fire Station N16, Looking out for our community since 1885, £9,650.00
• On the Record, When the nursery workers said no: The Islington Nursery Strike, 1984, £12,620.00
• Press Play Films, Parker Pens: the working class oral histories of Newhaven Town, £21,840.00
• St Peter's Brighton, Celebrating 200 years of St Peter's, £10,450.00

• Bertz Associates LTD, Rolling at the Tower Ballroom, £17,520.00
• CEE NOTTS, Capturing shadows of the past, £9,409.00
  Delapré Abbey Preservation Trust, Stories of Abbey Farm, £8,211.50
• Leicester Caribbean Cricket & Social Club, Leicester Caribbean Cricket: 70 - Not out, £10,000.00
• Nonsuch Theatre Limited, At the bandstand: 80 years of story, £16,280.00
• OUTSIDE Creative People and Places, Leek Textile Workers, £13,175.00
• Potboiler Theatre, Out in Hanley, £19,950.00
• YMCA Leicestershire, Leicester's Hidden Gems, £13,783.00
• Youth Landscapers Collective, The Stage of Possibility, £10,000.00

• The Bare Project, Of pigeons and peas: the histories and futures of the Manor Workers' Gardens Manor, Sheffield, £19,663.00
• Beamish, Our South Shields: Thanks for the memories, £24,820.00
• Cultural Appropriate Resources, 56 Burngreave Road: learning from our past, £23,500.00
• Friends of Ryton Federation, Looking out for each other, £10,000.00
• Good Organisation (Social Ventures) CIC, Historical Perspectives of Homelessness, £11,382.00
• Hand Of Limited, The Tyne and The Tide Project South, £6,800.00
• Hidden Story CIC, Talking Tapestries: Stitches in Time, £20,340.00
• History in Action CIC, Celebrating Champion Jack, £24,761.00
• Humber Field Archaeology, Hull City Council, Seeds of Change, £24,900.00
• Joanne Coates, On a wing and a Prayer, £9,680.00
• LGBT+ Northern Social Group, Pink Triangles and Purple Circles: working class histories of drag in Newcastle’s Pink Triangle, £10,940.00
• TCV Rhubarb, Rhubarb, Rhubarb…, £22,070.00

• Back on Track Manchester, Work and Play: The untold stories of urban parks in North Manchester, £9,618.00
• Deeplish Community Centre, A Deep Dive into Deeplish, £16,630.00
• Making Space, Port Histories, £10,000.00
• Ragged Edge Productions, Maryport Works Audio Adventure, £9,990.00
• Rekindle School Ltd, Great Grandmas and Glorious Girls, £23,450.00
• Rule of Threes Arts, Queue up and dance - exploring Bootle's stories of youth culture, £12,600.00
• Salaam Festival CIC, Sundook, £14,250.00
• Scribblingtown, From Scribblingtown I come, £9,670.00
• SICK! Productions, Moston, Harpurhey, Charlestown Shared Heritage Mural Project, £24,820.00

• 1625 Independent People, Young people uncover Old Market: social change past and present, £24,995.00
• acta Community Theatre, Bedminster Union Workhouse, £18,870.00
• Filament Works CIC, Strandline, £9,850.00
• GL11 Community Hub, Women's Work in Cam Mills, £9,940.00
• Tolpuddle Old Chapel Trust, Tolpuddle Family Lives: A People's Heritage, £9,978.00
• Trelya, Istoris, £17,701.56
• Yesterday's Story, C&T Harris Bacon Factory Oral Histories, £9,950.00