Thank to everyone who has made the magic happen at Trinity this year- it's thanks to the generous support from people like you that we can continue to inspire and strengthen local communities through arts and culture.

This year we’ve made strides towards our vision of Creative Expression for All offering a year-round cultural offer.

We launched the Cultural Alliance - a two-year arts-based learning programme in three local primary schools, ensuring every Key Stage 2 pupil now receives weekly dance & drama sessions.

We’ve increased our commitment to young people, including weekly Speak Out sessions, giving young people the creative tools to take action about issues they care about.

By nurturing young people’s creativity, we’ve welcomed rising talent onto Trinity’s stage including the Next Gen Sounds performance at the annual Garden Party.

We’ve appointed three Community Connector roles to better understand the needs and interests of residents and community groups within the Newtown area, Stapleton Road as well as people accessing services at the Wild Goose Cafe.

We are continually working to enhance our heritage building, ensuring it remains accessible, inclusive and sustainable for all. This year we launched the Ticket Levy, a fee applied to all bookings to help us fund essential improvements to Trinity Centre.

Our Citizens for Culture, delivered in partnership with St Paul's Carnival, and Citizens In Power, is bringing together people across the Southwest to meet with creative practitioners, cultural providers and decision-makers with the aim to create a Cultural Plan for the region.

Advocating for our shared community spaces remains a priority for us as we progress in our mission to save Jacobs Wells. We’re now working hard to raise essential funds to restore and re-open the building as a multi-purpose community hub by Autumn 2025.

We are hugely proud of everything we’ve achieved throughout this year, and the impact we continue to create for our local community.

None of this would be possible without the longstanding support and friendship of our supporters, partners and audiences.

In Autumn 2024 we celebrated the rich creativity in Old Market through a programme of free creative happenings throughout the inner city suburb.

Amplifying the wide-ranging grassroots musicians in Bristol we took over shops and restaurants transforming them into pop-up DIY music venues hosting the likes of d Young Echo, TLK, EJ:AKIN and Rider Shafique and Sarahsson.

Audiences also explored Old Markets history through a promenade performance devised by writer Edson Burton and artist Tom Marshman. The performance uncovered the hidden stories of residents from Old Market’s past as well as exploring the sites and sounds of the area.

In addition to celebrating the rich cultural offerings in Old Market the programme of work intended to help encourage new audiences to Old Market – an often overlooked suburb of Bristol. Over 90% of audiences who came along to one of the free events shared that they were visiting the area specifically for the show or performance – and 55% shared that having come along to an event meant they were more likely to visit Old Market in the future.

In total over 700 audience members attended one or more of the events as part of Destination Old Market. As part of the programme we created paid opportunities for 48 musicians, 5 actors and 15 creative practitioners.

About Destination Old Market

Destination Old Market is produced by Trinity Community Arts and is part of the City Centre and High Streets Culture and Events Programme, funded by Bristol City Council and the West of England Combined Authority. The initiative aims to attract more visitors to the City Centre, boosting local businesses and the economy.

Paul Stephenson - Image Credit: Khali Ackford

Sir Paul Stephenson has left a profound legacy that reverberates across recent decades.

Few individuals have been so widely regarded across their lifetime as Civil Rights activist Sir Paul Stephenson.  Paul is best known for his leadership of the Bristol Bus Boycott. As some of you may know a colour bar was in operation across Britain, including Bristol. The colour bar restricted Black and Asian migrants' access to housing, employment and services. Unlike apartheid South Africa, Britain’s discrimination was not codified in law. Instead, in the absence of legislation preventing discrimination, landlords, employers, service providers of all kinds were at liberty to deny services to whomever they chose.  'No Blacks, No Dogs no Irish' typified who was vilified.  Regardless of skill levels migrants were relegated to the least desirable jobs, that is if they could find employment at all.  The colour bar in housing meant that migrants were concentrated in the less desirable parts of Britain’s towns and cities.

Sir Paul, a former service man, had moved to Bristol to take up a post as youth worker when he joined a group of West Indian activists who wanted to bring attention to the colour bar in Bristol. They chose The Bristol Omnibus Bus Company as their cause Celebre.

The Bus Company’s refusal to employ Black drivers was widely known in the city. It was all the more glaring given the numbers of Black staff employed elsewhere in the country across the transport sector. Inspired by the US civil rights movement Paul and fellow activists Roy Hackett, Owen Henry, Audrey Evans, Guy Bailey, led a boycott of the Bristol Omnibus company from April-August 1963. The boycott was supported by students, liberal Christians, and of course members of the Bristol’s Black community. Crucially, the boycott attracted the attention of the national press at a time when Britain was entering a new relationship with the Commonwealth. Moving away from its dominant role, Britain wanted to signal it could be the head of a multilateral Commonwealth of Nations. News of racism in Britain was then a stain on Britain’s reputation among the newly independent nations.

A charismatic, handsome, orator and to all intents and purposes an Englishman, Paul was the perfect spokesmen for the movement. Under pressure from the Wilson Government, the national Trade Unions the Bristol Bus Company capitulated two months after the start of the boycott.

Various commentators argue that the boycott was an important catalyst for Britain’s first anti-discrimination act. Introduced into law in December 1965 the Act made it illegal to incite racial hatred and to refuse access to public spaces.  The Act was strengthened in years to come but was at least the first step in a long legal journey towards equality.

The Bus Boycott was only the start, albeit a dramatic start to Paul’s activist career. He was once again in the public eye the following year when he was arrested and charged for causing a public nuisance. Paul had refused to leave the pub after the manager refused to serve him on account of his colour. The case went to court, an eyewitness corroborated Paul’s version of events he was acquitted, and the manager was later dismissed but as with the bus boycott, Paul’s actions exposed a persistence of racism to the wider public.

Paul used his friendship with celebrities, such as Mohammed Ali, to raise money for various youth charities He joined the Sports Council England but resigned in protest over the Thatcher Government’s refusal to criticize a British cricket tour of South Africa at a time when many in the sporting and entertainment world actively boycotted the apartheid regime.

Despite his national profile Paul continued his grassroots activism. Amongst many other roles he was chair of the West Indian Parents and Friends Association. He and his fellow activists were particularly concerned by the challenges facing the second generation of Black Britons. All too often, they experienced new forms of discrimination whilst also feeling marginalized from Bristol’s cultural mainstream. It was for this reason that members of the Association took on the management of the Trinity Centre.

Trinity had been purchased from the Church by a previous community organization in 1977.  During this period Trinity offered a range of vocational courses, artistic development and an entertainment space. Despite its popularity, Trinity faced financial hardship and went into receivership in 1984. Owned by the Council, the building underwent a substantial overhaul and was put out to tender in 1991.

The tender was competitive but Paul’s influence as well as that of West Indian Parents and Friends was key to securing the building’s future as a community venue.

Trinity owes a debt of gratitude to Paul Stephenson for its continued existence. But wider than Trinity, Bristol and the country at large is indebted to his example of unflinching public service.

Tribute written by Dr Edson Burton

Wild Goose Choir - Image Credits: Alastair Brookes

As part of our Community and Neighbourhoods programme, we connected with local charity, Wild Goose, to run the Wild Goose Choir - weekly singing sessions within a cafe space on Stapleton Road.

“This is a fun socially interactive group that tackles many of the difficult issues faced by service users, enabling people from all cultures, different language barriers to cohesively join together.” - Mick Connolly, Drop-in Manager, Wild Goose Cafe

The sessions took place throughout July – October 2024 and were delivered by experienced choir leaders Sophie Wilsden and Holly Jacks with support from Wild Goose Cafe staff. The sessions included a warm-up, check in, refreshments and a check-out. Participants learned songs from all across the world, in different languages, and from different cultures.

Wild Goose offer support to people to help them rebuild their lives. The cafe offers a lifeline for many people who attend drop in services to access hot meals and support services. During the sessions, the Wild Goose team and the project facilitators shared that the sessions encouraged people to spend time together, build confidence, resilience and connections.

Throughout the project, 14 people took part in Wild Goose Choir, with participants returning for regular weekly sessions. Due to the success of the project, we will be expanding the programme and working with partners to host a weekly choir for people accessing services within Trinity’s locality.

The Choir has been developed through our 'Community Connector' roles, where we are working with people living within Trinity’s locality to create a creative programme of activity. You can find out more about events and projects coming up click here to find out more

This autumn, enjoy an amazing programme of film screenings exploring the bredth of talents of African and diaspora filmmakers with Afrika Eye 2024, the South West's biggest celebration of African film and culture.

The festival returns to Trinity in a new format - instead of a full-on festival, the team at Afrika Eye have created a season of enticing films to run throughout the autumn months at Bristol venues including Watershed, The Cube, and The Trinity Centre.

"Our programme reaches across genres and aims to bring in new audiences to the festival with a season of films, rich in stories, drama and cultural themes, celebrating and sharing the vibrancy and importance of African culture with a programme appealing to all ages and interests" - Annie Menter, Afrika Eye Festival Director

At Trinity we pleased to welcome three films celebrating Black female action heroes:

Sat 09 No is Gina Prince-Bythewood's 2022 film The Woman King, starring Viola Davis. There will be delicious West African food for you to enjoy as well as a special Dahomey cocktail - click here to get your tickets.

On Fri 15 Nov, step back into the gritty '70s for a double bill screening of films starring the iconic Pam Grier in classic blaxploitation films Coffy and Foxy Brown. Plus stick around for an informal, post-screening discussion with a selections of black female and non-binary guests speakers.

This year’s Afrika Eye festival promises a diverse programme, spanning contemporary African films, spoken word performances, dance, music, and more, appealing to audiences of all ages. Artists from across Africa and within the diaspora bring insights, creative ideas and extraordinary projects to broaden and enrich our knowledge of a continent that has for centuries been part of a shared history, without ever having an equal voice. Head to Afrika Eye's website to explore the full line up.

Mya is part of Mandala Theatre Company. Credit Seed Guardians/Mandala Theatre Company

We are committed to creating ways in which citizens can take an active role in shaping arts and culture, through projects such as Citizens for Culture. This Autumn we are inviting creatives and activists in the West of England to respond to the Black History Month 2024 theme ‘Reclaiming Narratives’ through the lens of Citizens For Culture’s core principles of inclusion, and voice and influence. In the second of this content series, writer and actress Mya Fraser shares her poem Justice.

Reclaiming the Narrative: Mya Fraser and Justice

Justice

Think of a boomerang, an object which is designed to return

back to that throws forcer. What happens if it doesn’t come back?. History. Left behind whilst they dare to live without them. I believe in clarity. what i would like to clarify is the detachment clarify the sadness the hurt the wonders. I believe in comfort. something you can’t breathe properly without. your beats no longer stating the same rhythms. that irregulation speaks volumes. the very same songs the luth sings isolated. As if there’s a complete loss of control. where lies the control when the one creator's captured fix stays lost. You've Left the hand waiting behind whilst finding that paternal break. The originator plucks the air it once sat. pondering in what it’s doing. Where are you? Hopeful you’re homesick. do theirs caress better?  do theirs care for more?. Remaining wishful of tracing those invisible tracks in which the sand once led for you. Fulfilling the void that formed in your absence. To hear your sound once more would be an extraordinary pleasure in the figure and in the residential care of your beloved. Bring them home. Because again, I believe. and what i believe in most is a happy ending. rewriting a story doesn’t change the idea of the first plot, it manipulates the initial honesty. Here’s to history.

About Mya Fraser

Mya Fraser is a 20-year-old actress and writer, brought up in Oxford. At the age of 15 she decided to begin her acting career by joining young theatre companies based in her hometown. She later went on to receive her acting diploma in 2022 on a two year A-level equivalent diploma course at Bristol School of Acting. Fraser has been on multiple international tours with Mandala Theatre Company and is currently in their show Seed Guardians.

Follow Mya on Instagram

Interested in finding out more?

• Read the first part of this series, an exploration of NGAIO's music video Goddess
• Email Imogen@trinitybristol.org.uk to join our Citizens For Culture mailing list
• Find out more about what a Citizens’ Assembly for Culture is in this Q&A
• Become a Citizens for Culture Associate

Citizens for Culture is an initiative from St Paul Carnival CIC, Trinity Community Arts, Citizens in Power and West of England Combined Authority and is supported through funding by Arts Council England, Paul Hamlyn Foundation and Calouste Gulbenkian Foundation (UK Branch).

During the summer Community Connector, Shanti Pant hosted 'Nature in Newtown' -a free project exploring the natural environment in local neighbourhood, Newtown.

Following this project the ten-group members took part in a series of workshops to create short films inspired by 'nature'. The film making sessions were facilitated by Bristol-based filmmaker and Shanti Sherson and film-maker Jon Aitkin.

"It’s been lovely to build a nice friendly and inclusive group. It’s given me confidence. I’ve been told ‘you can’t do that’ so much. It’s so good to be around people who say ‘go for it!'"

Across the sessions the group learned simple techniques using mobile phones to create short films and explored different ways of creative expression, for example Haiku's, poetry and painting. The project culminated with a film screening at Trinity and a communal lunch.

Newtown is one of three local neighbourhoods that Trinity is working closely with over the course of this year, to develop a greater understanding of residents’ interests and experiences, and how Trinity can support grassroots creative activity.

Click here to find out more about our Community and Neighbourhoods programme

We are committed to creating ways in which citizens can take an active role in shaping arts and culture, through projects such as Citizens’ for Culture. This Autumn we are inviting creatives and activists in the West of England to respond to this year’s Black History Month theme ‘Reclaiming Narratives’ through the lens of Citizens For Culture’s core principles: inclusion, voice and influence. In the first of this content series DJ, vocalist and songwriter NGAIO discusses her music video Goddess.

Reclaiming the Narrative: NGAIO and Goddess

The creation of this music video was so important to me, to tell my story of what it’s been like to find myself and my beauty in a Western world as a mixed-race woman. The beginning scenes were filmed on the streets of St Pauls, where my topless billboard was put up as part of the Censored campaign, which was put together to raise awareness about the sexualisation of women's nipples and the persecution received when seen in public.

"Goddess is about saying we're all Goddesses - no matter what anybody tells us, we are exactly what we need to be. We don't need to starve ourselves. We don't need to have the same face and body. Our uniqueness is what makes us individuals."

Men can go topless at any time, but women can’t, why is that still the case? It folds into a wider discussion about how heavily women’s bodies are policed when we look at reproduction and beauty standards - it all comes back to what external people think women should do with their bodies and how they should look (which changes all the time). These consistent messages of scrutiny in society through the media, and comments made and overheard, led me to feel deep shame, embarrassment, and fear.

I have been on a journey of loving my curves and accepting - some days even appreciating - my lumps and bumps. Never in a million years when I was young did I think I would feel steady enough to not only be pictured without a top on, but to let that be shown to the world on a street five minutes from where I grew up.

Goddess is about saying we're all Goddesses - no matter what anybody tells us, we are exactly what we need to be. We don't need to starve ourselves. We don't need to have the same face and body. Our uniqueness is what makes us individuals. Whatever the shape, size, colour, or gender; you are a Goddess in every sense of the word. People try to tell us that we should look a certain way or act a certain way. We're consistently being told who we should be, but how we feel about ourselves shouldn’t be dependent on the external world. We are more expansive than that.

Goddess is about understanding that we are connected to more than this moment we're in right now on this planet. It is about the connection that we have with our spirituality and our ancestors which is why in the middle scenes I’m surrounded by foliage outside with my natural hair picked into an afro. These scenes were to symbolise the necessity of connecting with nature and the Earth from which we are all born and will all return. Some see the Earth as a rock we live on that serves us, and that is so sad. This living, breathing, organism has given us and our ancestors life - it continues to connect us in space, spanning time we can’t even fathom.

The breakdown in the song is a celebration of that realisation that we are our past and our future and if we are ever feeling lost or unsure, we can tap into the Goddesses inside us to find our way. Through connection to nature or connection to ourselves - knowledge and love are always there, inside us. It ends on a scene which was a nod to a duo who have inspired this new chapter of my musical journey - Ibeyi and their first release, River.

It was filmed by Charlotte Sawyer, a long-term collaborator and lover of nature who’s just won an award for her incredible documentary Rave on for the Avon to raise awareness about the dangerously unsanitary state of our water in East Bristol.

This song - for me at least - was made for moments when I’m feeling unsure, to calm me with melody and stillness, to shake me up with love, before releasing me back into the world. I hope it can do the same for you.

About NGAIO

NGAIO, the versatile artist renowned for her vocals, songwriting, and DJing prowess, seamlessly blends these talents to craft electrifying live performances. This year, she will debut her first self-produced EP 'Four Quarters' and accompanying live show, featuring live vocals and recreations of her productions delivered through Ableton Push. Soundscaping trip hop, jazz, bass and global music in a multigenre sound reflecting her travels - there's something for everyone. As a mixed-race woman, NGAIO infuses her artistry with personal experiences, enriching her music with poignant storytelling told through spoken word and jazz-infused vocals delivered with passion.

Transitioning from band and DJ gigs to curating a solo show, NGAIO intricately weaves jazz and underground bass influences, earning comparisons to the eclectic iBeyi and Greentea Peng. Beyond music, NGAIO advocates for cultural understanding, bridging divides between races and classes.

Check out NGAIO’s website or socials @ngaioamusic

Videographer - Charlotte Sawyer

Photographer - Charley Williams

Interested in finding out more?

• Email Imogen@trinitybristol.org.uk to join our Citizens For Culture mailing list
• Find out more about what a Citizens’ Assembly for Culture is in this Q&A
• Become a Citizens for Culture Associate

Citizens for Culture is an initiative from St Paul Carnival CIC, Trinity Community Arts, Citizens in Power and West of England Combined Authority and is supported through funding by Arts Council England, Paul Hamlyn Foundation and Calouste Gulbenkian Foundation (UK Branch).

Seedling Sessions - Image Credit: Claudia Rojas Nunez

In September 2024, we welcomed 'Seedling Sessions' as part of our in-house programme, Trinity Presents. The event is dedicated to showcasing early-career musicians with the goal of fostering a more inclusive music industry in Bristol. Beyond performances, people are able to access work experience opportunities in areas like artist liaison, stage management, and sound engineering.

The event is the brain-child of Bristol-based artist Madly (aka Cassie Madly) who curates diverse lineups, showcasing various genres which allows audiences to connect with artists they might not have discovered otherwise.

“Seedling Sessions felt more like a curated art experience than a gig. Each act took me on a journey, and the night flowed beautifully from start to finish. I can imagine it becoming a mainstay of Bristol’s nightlife.” - Audience Member

During September's event, Madly programmed Experiment x O.B, a fusion of Deems Experiment and Solomon OB; Jausmė, a Lithuanian artist known for her innovative use of the kanklės and Immy, a Bristol-based musician programmed through a partnership with music college BIMM.

For the event the Fyfe Hall featured decor designed to evoke the ambiance of an old-school jazz club, with cabaret-style seating, candles, and a cocktail menu. With over 110 attendees, the night was a resounding success.

On bringing sessions to Trinity Cassie shared that “Trinity is an iconic venue in Bristol that a lot of musicians dream of playing at. When I mentioned bringing my concept there, they were immediately supportive. The upstairs room, with its historic features and stunning stained-glass window, was perfect for the vibe I had in mind,”

Seedling Sessions were originally founded in 2016 by Cassie Madly (aka Madly), the event began as a monthly showcase, providing artists with the opportunity to perform live, while also receiving professional photos and videos to help promote future gigs.

Click here to see what's coming up on Trinity Presents

Film by Lizzie Goldstack

Speak Out is our arts and activism creative programme that empowers young people  to use creativity to take action about the issues they care about.

Running throughout 2024 Speak Out was created in consultation with over 150 Bristol based young people who helped shape the delivery and themes explored throughout the programme.

In the first series of workshops students from City of Bristol College joined textile designer Carene Leslie in exploring the theme of ‘Future Proofing’. This included collectively exploring what a shared sustainable future looks like through designing and 'upcycling' sustainable clothes.

Young people then joined Kabbo Ferdinand – an African Indigenous storyteller and Natasha Gatward - Eco designer to explore their personal experiences of Neurodiversity through freeform movement, performance and storytelling

"My son has had a renewed interest in leaving the house. Whereas before he was always late for school, he was often arriving early to sessions showing eagerness to take part in project activities.” Feedback, Parent

The final series of workshops were hosted by hip-hop artist MoYah and Bristol City Poet Sukina Noor who supported young people to use writing and music-making skills to explore the theme of ‘Home’.

Many of the 22 young people who took part in Speak Out attended the end-of project celebration at Trinity – bringing along friends and family to enjoy a show of upcycled textiles, music and spoken word performances.

Get involved

We are inviting 16yr-18yr olds to take part in a consultation to help shape the future of Speak Out on 30/31 Oct 2024. Click here to find out more

About Speak Out

Speak Out is supported by the We Move Fund: Youth Social Action aims to empower Black children and young people through Youth Social Action. Speak Out was developed following an indepth consultation with over 150 young people that took place across in person events; performances and within education settings.

Credit: Alison Ray Dance Company

The Unknown Soldier is a performance piece revealing the hidden histories of black British servicemen and women who fought for Britain during the First and Second World Wars. Created by Alison Ray Dance Company, the show explores the personal stories of the brave men and women of Black British heritage and the part they played in Britain’s successful war effort.

Ahead of show at Trinity on 19 October 2024 we caught up with company director, Alison Ray MA, to find out more about the making of the show.

"At the heart of The Unknown Soldier lies a captivating blend of dance styles, from the spirited rhythms of African and Caribbean movements to the fast, energetic Lindy hop dance to the poignant grace of contemporary dance"

Hey Alison, tell us a bit about the inspiration for this show

From a child, I learnt about Black servicemen in World War I and World War II following a trip to Barbados. The Prime Minister of Barbados at the time was the right honourable Errol Barrow who I also discovered was a RAF navigator in World War II. Upon our return to the UK, I was often surprised to see on television, that there were no black servicemen at the time in the Remembrance Services. Then, in 2014, during my master’s studies at Trinity Laban Conservatoire of Music and Dance, I had the opportunity to see the Sea of Poppies installation at the Tower of London. This installation inspired me to create this work, and I realised then that I could create The Unknown Solider, it’s a piece very close to my heart, something I’ve always wanted to choreograph.

The show uses different dance forms - can you tell us a little about the significance of these within the show?

At the heart of The Unknown Soldier lies a captivating blend of dance styles, from the spirited rhythms of African and Caribbean movements to the fast, energetic Lindy hop dance to the poignant grace of contemporary dance. Lindy hop was a dance form that supported the heart during the war years. Through this energetic and joyful dance style, soldiers, family, and friends, could let go and find the strength to carry on… The choreography serves as a vessel, carrying the audience through the tumultuous journey of these brave servicemen and women as they navigate the perils of war and the complexities of identity.

The cast of three dancers weaves together episodes that are sometimes explorations of theme and place (a duet between two men portrays the choreography of soldier hood with forceful lines and balances of support) and sometimes historical narrative integrated with movement. All this is accompanied through live music, including violin and drums, to create an atmosphere of uncertainty and ambiguity, of embarking on this journey to the unknown.

Tickets for The Unknown Soldier start at £9

Coexist Community Kitchen Sessions - Image Credit: Francisco Vicaria

During the summer we offered a series of gardening and cooking sessions in our Community Garden. These sessions are delivered in partnership with Coexist Community Kitchen and are designed to combine Coexist’s culinary skills with Trinity’s gardening knowledge, drawing on the rich variety of produce available in our garden.

“Some people don’t really know anyone in Bristol, and I think that gentleness that gardening and cooking offers of socialising but whilst having your hands busy allows you to connect through more than just words, through a shared activity. I feel like there is more of a sense of community with some people who come along” - Fleur Handley, Trinity Garden Project Facilitator

The sessions area space for people to connect with nature, develop cooking and gardening skills and meet new people. Many participants have lived experience of the asylum-system and live in temporary accommodation with little access to cooking facilities or green spaces.

During the sessions participants explored the outdoor spaces; picked and selected food from the community garden to cook with during the project.  Other activities included outdoor cooking over an open fire, harvesting seasonal produce, tending to the garden, and coming together to share a meal that participants create as a group.

These garden sessions where developed in response to addressing increasing isolation felt by many during the pandemic in 2020/2021 when outdoor activities were still permitted under lockdown restrictions. Since then, we have continued to offer two six-week blocks of these sessions every year. Click here to find out more.

We hope to continue this valuable partnership with Coexist in spring 2025 when our garden comes back into bloom and the first bits of produce start appearing. Click here to find out more about our regular gardening opportunities at Trinity.

Old Market is set to undergo a vibrant take-over this Autumn as the city-centre location becomes host to, Destination Old Market, a programme of public events showcasing the area's cultural and creative scene.

Taking place throughout October to November 2024 we have created a programme that will feature pop-up gigs and performances in secret locations in the area - shining a spotlight on the many artisans, makers and independent businesses based in the area.

"Living in Old Market for nearly a decade has made it feel like a part of me. I love the blend of its buildings, the unique characters, and the deep historical significance it holds for Bristol. My goal is to share with audiences a side of the city that’s often overlooked or taken for granted." - Tom Marshman, Artist

Businesses and shops will transform into DIY venues and will host pop-up performances from some of Bristol's finest live music, experimental sonics sounds & DJs. Line up so far includes Bristol's t l k, Copper Sounds + Sarahsson, Josephine Gyasi and James Storm. Pop up venues so far include pubs, hairdressers and retail shops.

Audiences can delve deep into Old Market's rich contemporary history through a new theatrical promenade performance devised by writer and artist, Edson Burton, in collaboration with artist Tom Marshman. Taking place in locations throughout Old Market, the audiences will uncover the captivating lives and stories that have shaped Bristol's Old Market into one of the city’s most memorable streets.

People can book Destination Old Market events through our website. A £5 deposit is required when booking. This deposit can either be refunded or exchanged for a voucher that can be spent in Old Market business taking part in the Destination Old Market.

Destination Old Market will take place on the following dates:

A Sound Odyssey:

Saturday 12 Oct

Saturday 02 Nov

A Theatrical Promenade

Sunday 13 Oct

Sunday 20 Oct

Sunday 27 Oct

Sunday 03 Nov

About Destination Old Market

Destination Old Market is produced by Trinity Community Arts and is part of the City Centre and High Streets Culture and Events Programme, funded by Bristol City Council and the West of England Combined Authority. The initiative aims to attract more visitors to the City Centre, boosting local businesses and the economy.

Speak Out Workshop - Image Credit: Alastair Brookes

Speak Out was a free creative development programme for young people made possible through funding from the We Move Fund, created by Children in Need and BBC 1XTRA.

As part of the programme rapper/activist MoYah and poet and spoken word artist Sukina Noor delivered a series of workshops for young musicians and poets, offering support with writing and developing music-making skills.  These workshops where primarily aimed for young people who have lived-experience of the refugee and asylum-seeker system.

"As the Speak Out project unfolded, we saw how transformational this was to the participants. I think for me that was one of the most impactful experiences I’ve had working with young people" - Sukina Noor, Speak Out Facilitator

During the workshops the team offered tailored support and one-on-one mentorship to the young people who attended. We connected with translators to work with young people who wished to express themselves through Arabic -and  as a result they where able to use traditional Arabic poetic techniques during the workshops.

The young people involved in the project reflected on how the sessions offered them a safe space where they were able to fully express their identities and be themselves, and channel this into their art. For example, a participant from Brazil who spoke Portuguese was able to express himself better thanks to MoYah's ability to speak Portuguese, something that the young person had not been able to do since arriving in Bristol. Sukina observed the personal growth of the young Brazilian participant due to being able to speak his first language in the sessions, noting, "He could really experiment and let his story be told".

Facilitators, MoYah and Sukina both reflected on the confidence that the young people demonstrated by taking part and performing at Speak Out events, highlighting their creative and personal development throughout the project.

The young people who took part in these Speak Out workshops were given the opportunity to showcase their talents as part of the Bristol Refugee Festival.

In total six young people aged 16-18 took part in eight workshops, facilitated by MoYah and Sukina.

Click here to find out more about Trinity’s programme of events and activities for young people.

Summer Family Sessions - Image Credit: Alastair Brookes

Are you a maker? Want to share your skills, interests or hobbies with your community?

On the 05 October we are teaming up with Eastside Community Trust and Somali Kitchen to host a free celebration of community creativity. This free event will take place at Easton Community Centre from 10am –4pm as part of the UK-wide Fun Palaces weekend.

During the day, there will be community volunteers offering a range of skill swaps – from a Fix It cafe to craft activities. Alongside this we are looking for other community makers to host their own skill swaps. This could be anything from a crocheting workshop to a keynote on stamp collecting – the day is all about sharing your skills with your neighbours!

We are offering each maker £50 towards materials/costs of your choice

How to get involved:

• Fill out this form, letting us know what skill you want to share.
• Deadline is midnight on Sunday 15th September.
• If you have any questions, please contact esther@trinitybristol.org.uk

Event information

• Fun Palace, 05 October 2024
• Easton Community Centre, Kilburn Street BS5 6AW
• Cost – free no registration required – just turn up
• Click here to find out more

Storytelling Sessions - Image Credit: Francisco Vicaria

Over the summer, as part of our Communities and Neighbourhood's programme, we hosted a series of free storytelling and movements session for parent/carers living in or around local neighbourhood, Stapleton Road.

The sessions where developed by Hibaq and Suad, who have recently joined the Trinity Team as Community Connectors. Community Connectors activate conversations with residents living within Trinity's locality which in turn help shape activities at Trinity.

Keen to encourage local families to spend creative time together during the summer break from school, Hibaq and Suad devised a four week programme of free-to-access activities that used storytelling and movement to explore and share stories of culture and heritage. Hibaq and Suad then invited families whose children attend local primary school, Easton CE Academy (one of three schools in the Cultural Alliance) to come along.

"I’ve had a lot of things on my mind this week, but here I forget everything, I relax" - Feedback, Participant, Storytelling Sessions

During the sessions parents and children took part in singing traditional songs, creating movement and dances. Hester Welch, the lead artist during the sessions, observed that during the sessions "families explored different ways of uncovering and sharing stories, building confidence in themselves and their surroundings, and celebrating these skills".

As well as using storytelling and movement to create connections between mothers and children, the sessions allowed space for women to have 'focus time' - a space to connect and express themselves in a calm, quiet environment while their children happily worked together elsewhere, creating dances and artwork to share back to them.

Across the four week project, we welcomed 45 participants from 12 families - all of whom live within a 20min walk of the Trinity Centre.

Read more about our commitment to celebrating, platforming and developing community creativity or find out what events are coming up as part of our Community & Neighbourhoods programme, including storytelling, singing, craft and drama drop-in workshops at our September Garden Party.

Bethany Ley - Image Credit: Giulia Spadafora

As part of our in-house programme, Trinity Presents, we are pleased to be bringing Bristol-based Bethany Ley to Strange Brew on 13 Sep.  Bethany will be performing their new EP, Sundial as part of a new Audio-Visual live show in collaboration with visual artist Alfie Dwyer, who recently worked with Aphex Twin creating the visuals for their 2023 tour.

We sat down with Bethany for an in-depth conversation about Sundial, exploring their creative process and what's next on their journey.

Hi! Please introduce yourself

B: Hello! I am Bethany Ley (FKA. STANLAEY), an independent producer, vocalist, and sound designer based in Bristol. I write music that explores the cross section of my background as a classical musician, with electronic production, improvisation and sound design.

"Trinity is such a big part of the tapestry of the Bristol music scene and I am grateful for the continuous support. If I step back, it’s nice to see the musical evolution in myself and the city – and that Trinity has been a constant force in that throughout the years" - Bethany Ley

You previously released music under the name STANLÆY - can you tell us the thought process behind changing your name as an artist, and how this has been reflected in your music?

B: Changing the name has felt like a natural progression of stepping into myself as an artist. I wanted to release music under a ubiquitous name that can constellate the hue of what I do in a way that makes sense to me. Stripping it back has given me a different type of excitement to explore production within my recorded and live work.

Your debut EP ‘Sundial’ was released a couple of months ago – can you tell us a little about the inspirations behind the project, the process of creating the EP and what the response has been like so far?

B: Sundial stemmed from a love and exploration of acousmatic sound design, and the visualisation of sound. The project actually started off as an imaginary OST to a sort of visual landscape, or generative video game. It then mutated and merged with structure and song-writing. Other topical inspiration was Internal Family Systems (IFS), a therapeutic model which thinks of each person having several modes of self within themselves. The response has been heart-warming. I feel grateful for Lo Recordings for taking it on to a label that it feels very at home at! Also very grateful to my friends and new people I have met and chatted to when performing these songs live!

This project has seen you working with AV artist Alfie Dwyer to create animations for Sundial, what was that process like and what do you think the visuals add to the overall experience of the EP?

B: I experience and make music really visually and recently have been writing my music alongside creating visual scores, so working with a visual artist has felt really natural; especially someone I am so close with. Alfie and I have overlaps in our interests and art, so I think our work compliments each-other well and we both get inspired by each-other when talking about ideas. I feel like visuals and sound give each-other so much, and together create something bigger than each part individually. It’s Alchemy. Putting them together in this way for my debut EP ‘Sundial’ has felt like we are able to invite people into the universe of the music in a more physical way.

You’ve been on our radar for a while now – performing at Trinity several times including at our Garden Party – what has this journey been like for you as an artist?

B: I played at The Garden Party in 2021 (Post-Covid) and we absolutely loved that show! I also played with Ishmael Ensemble as part of their ‘Visions of Light’ tour at Trinity in 2022, and most recently supporting Waldo’s Gift at Strange Brew back in March. Trinity is such a big part of the tapestry of the Bristol music scene and I am grateful for the continuous support. If I step back, it’s nice to see the musical evolution in myself and the city – and that Trinity has been a constant force in that throughout the years.

What can audiences expect from your show at Strange Brew on 13 Sep?

B: You can expect sonic and visual gemstones and crystals being gently hurled about the room. I will be playing electric harp, electronics and singing alongside a band on stage with me, whilst Alfie Dwyer performs his live bespoke visuals alongside Matteo Amadio on lights. I am so excited to be joined by musical angels James Storm (sax, synth & voice), Isla Greenwood (voice), Laura Wilson (violin) to bring to life the songs in a new and expansive way just for the Bristol show.

What’s next for Bethany Ley?

B: I am slowly working on an album or new body of work which I am excited about. I am saving up to go to Indonesia & plan to deep dive into the sound of bells, harmonics, and hopefully learn more about soundwaves in the process.

Bethany Ley will be performing at Strange Brew on Friday 13 Sep 2024 - click here to get your tickets.

Destination Old Market will encourage people to expolore this vibrant city-centre location. Image: Heart & Soul, Heritage Walks, 2018. Photo Khali Ackford

Freelance creative practitioners are invited to take part in Destination Old Market - a series of free public events that will showcase the area's cultural and creative scene – shining a spotlight on the many artisans, makers and independent businesses based there.

Destination Old Market will take place in October and November and we are looking for freelancers to help deliver this exciting programme of work.

Click here to find out more about our project in Old Market.

About the roles

Director/Dramaturg (Freelance)

This role involves collaborating with the creative team to shape the narrative and ensure the performances are site-responsive, engaging, and adaptable to various urban locations. You will guide the overall artistic vision, working closely with actors and the production team to create immersive, place-based performances.

Download the brief here.

Walking Tour Performer

This role involves performing live in various outdoor urban locations, engaging with audiences as they journey through the tour. Performers will deliver scripted monologues, interact with participants, and help create an unforgettable atmosphere in dynamic street settings.

Download the brief here.

How to Apply

• Download the job description and person specification for each role: Director/Dramaturg and Walking Tour Performer.
• Complete our anonymous online equal opportunities monitoring form - this will not be used as part of the selection process
• Fill out the application form for your chosen role: Director/Dramaturg or Walking Tour Performer

Deadline

This job advertisement will remain active till Monday 23rd September 2024 6pm, reflecting the fast-paced nature of the project with interviews on Tuesday 24th September.

Recruitment Policy

Trinity is an Equal Opportunities employer and actively encourage applications from all backgrounds and communities. We recommended reading the job description and person specification thoroughly and describe exactly how you meet the requirements as this is the basis on which candidates will be shortlisted for interview.

We will make reasonable adjustments to the recruitment process if you have a disability or long-term health condition, or if you need something different or additional as part of the recruitment process. To discuss your requirements, please get in touch on info@trintybristol.org.uk/ 0117 935 1200 or pop into the Trinity Office between 9:30am-4pm Monday-Friday.

Please see our Recruitment Policy for further information.

About Destination Old Market

Destination Old Market is part of the City Centre and High Streets Culture and Events Programme, funded by Bristol City Council and the West of England Combined Authority.

St Pauls Carnival Panel Discussion at Glastonbury Festival 2024 - Image Credit: Khali Ackford

Trinity is committed to creating ways in which citizens can take an active role in shaping arts and culture. As part of this commitment we are connecting with leading voices in the cultural sector to ask them to share their thoughts on the different civic and democratic tools that we as citizens can access. In the second in our series of opinion pieces exploring civic participation LaToyah McAllister-Jones, Executive Director of St Pauls Carnival, reflects on her experiences of using various tools to facilitate democratic decision-making.

Opinion: Voices in Decision-Making, LaToyah McAllister-Jones

I have always been attracted to work and play that enables people to have a voice. To be heard. After years of working with marginalised groups, from managing accommodation services for street homeless people to community organising in Hackney, I have developed an interest in the right to influence decisions being made about our lives.

One of the most interesting things about leading a community arts organisation is just how integral the community is to our work. St Pauls Carnival CIC is merely a custodian for the iconic event; we provide a stage and the community fills those spaces. Carnival celebrates African Caribbean talent in St Pauls and beyond as well as our culture and heritage. Our communities continue the traditions of our ancestors using music, dance and storytelling to share lived experiences and connect to our heritage. This is one of the most important things about our event: it allows us to tell our own stories, in our own words, using our voices.

In 2021, I was asked by Bristol City Council to facilitate a Citizens’ Assembly supporting policy development in housing, health inequalities and transport as the city emerged from Covid. The process was new to me, and I loved the way it cut through many of the challenges that we often come up against when engaging communities:

• Participants are randomly selected, and usually aren’t experts in the central assembly topic. There is a process to ensure that all participants are able to meaningfully contribute to the discussions, and this is critical to the success of an assembly.
• The process seeks to facilitate consensus, rather than debate which tends to have a winner and a loser.
• Participants are encouraged to explore what their real priorities are and what they might be prepared to forego for those priorities.
• Assemblies bring together a diverse range of people who you wouldn’t necessarily find together in a traditional social setting. This creates an opportunity for vastly differing viewpoints to be heard and influence how others participants might think about a topic.

St Pauls Carnival are currently delivering a Citizens’ Assembly for Culture in partnership with Trinity Community Arts, Citizens In Power and West Of England Combined Authority. The idea developed just as we were coming out of the pandemic and thinking about the lessons learnt; particularly the role of community. Together, we were curious about what it would look like to use the assembly process - democratic, person-centred and thinking about strengths of a place, its people and its assets - to reimagine what the cultural offer could look like in the South West region.

Democratic decision-making allows citizens to actively contribute to the discourse that shapes their communities. We also believe culture is experienced by everyone, in many different ways, and everyone should be able to access the culture that represents them. If this is to be the ambition, it is vital that we put people at the centre of that process. This means understanding how people experience culture, what it means to them and, as cultural leaders, asking ‘how can we reflect this in our approach and programming?’

The new Labour Government expressed an interest in the use of Citizens’ Assemblies earlier this year, and the format has been used to unpack challenging issues like abortion in Ireland. The South West region is already embedding this approach into how we speak to our communities, and we are at the forefront of using assemblies to understand how we deliver for everyone, and not just those who can afford it or who have easy access to culture.

Our Citizens’ Assembly for Culture project offers an exciting opportunity to create a new approach to engaging people in the cultural life of a place. The Assembly will take place in Spring 2025 as a central programme within Culture West, funded by the West of England Combined Authority and Arts Council South West. The recommendations coming from this Assembly will become part of the regional approach to delivering a citizen-led cultural offer.

Find out more about the Citizens' Assembly for Culture project:

• Read the first piece in this series about civic participation: Edson Burton’s exploration of why voting matters
• Sign up to an online information session with the Citizens' Assembly team
• Email Imogen@trinitybristol.org.uk to join our Citizens For Culture mailing list
• Read our blogs to find out more about the Citizens' Assembly project

Film by Latent Pictures

In September 2024 we will launch the ‘Cultural Alliance’, a two-year tailored arts-based learning programme delivered in partnership with three inner-city primary schools, Easton CE Primary, St Nicholas of Tolentine and Hannah More Primary. This new programme, funded by Paul Hamlyn Foundation, is a first of its kind in the local area and has been co-designed to meet the needs of each school.

The primary schools in the Alliance are based within a half-mile radius of the Trinity Centre with many of the children who attend facing challenges due to health, learning needs, and socioeconomic factors.

Aligning with Trinity’s long-term commitment to combat inequality through the arts, the Alliance will utilise a tailored arts-based curriculum focused on dance and drama in partnership with locally rooted creative partners ACTA and Movema. By addressing the detrimental effects of limited arts-education, the ambition is to support children's overall development and empower them to thrive in their learning journey. Alongside the programme, teachers will be offered ongoing support in their practice, offering them the creative tools and resources to provide the best opportunities for each student to flourish within their unique situations and learning environments.

“The Cultural Alliance will allow children across our local community to connect and learn through creativity. We are looking forward to working with our partner primary schools to inspire creative thinking and allowing each child who participates to thrive” Jenny Bodnarchuk, Youth Service Manager

The Alliance has been shaped through extensive consultation with primary school pupils, teachers, governors and community organisations, conducted by Trinity since 2021. These consultations highlighted the urgency of embracing alternative measures of academic success - considering their pupils’ diverse linguistic, cultural, and socio-economic backgrounds - and reported the need for new tools and practices to build trust and foster inclusivity.

The Alliance takes an investigative approach, incorporating tailored collaboration with each school, responsive to their unique needs. By integrating arts-based learning, teacher support, and initiatives addressing inclusion, the Alliance will create a transformative educational experience for educators and pupils, fostering a more inclusive and equitable learning environment.

The Alliance has been developed via initial seed funding from Van Neste Foundation and Nisbet Trust secured in 2023 to test and refine the programme through free-to-access arts-based provision for primary-aged children that included Forest School activities as well as embedding a dance programme, World in a Box, in partner schools.

Building on learning from these pilot activities, the launch of the Cultural Alliance in September 2024 has now been made possible through a two-year grant from Paul Hamlyn Foundation marking a significant step forward in local investment in children's access to arts and culture.

Find out more about our Children and Young People's programme here.