Trinity patron, Miriam Margolyes, visits Jacobs Wells. Photo Alistair Brookes, KoLAB Studios

The last year at Jacobs Wells we have been focussing on leading further investigations of previously out of reach areas to determine the condition of the building, leading to some fascinating and unexpected discoveries.

By uncovering elements of the building, including removing stonework and cutting back the vegetation that has been creeping into the building, we can determine what is salvageable and which areas might need to be entirely rebuilt.

The Pump Room

Further works have now been paused in the Pump Room, following the discovery of a small bat roost of the lesser horseshoe bat - Rhinolophus Hipposideros. These species are listed in Annex II of the EU Habitats directive and so are protected by European legislation which means no further works can take place as long as they are there. Once we have undertaken the safe relocation of any bat roost with advice from Natural England, we can continue with planned asbestos decontamination that will enable the professional team to gain greater access to some of the more mysterious and unusual elements of the site.

“It is a real privilege to join the team at Trinity and help move the ambitious project to restore and reopen Jacobs Wells forward. I am excited to bring my in depth knowledge of the conservation of historic buildings to the role” Emma Brown, Facilities Manager

The Pump Room is a unique area of heritage significance, featuring intact Victorian engineering, including large iron-cast water tanks that once held 60,000 gallons of water, fed by an ancient natural spring redirected from several local sources, including Jacob’s Well. By collaborating with industrial heritage engineering specialists, we will gain better understanding of this remarkable setup and develop a clear plan for the best use of this natural resource.

Our vision is to transform this space into rehearsal studios, informal performance areas and a café/bar, making this hidden gem accessible to the public for the first time.

Victorian Tiles

We are making strides with other repair works including the deconstruction of a parapet wall on the southern aspect of the building, roof repair works on areas not used by bats on the northern and eastern aspects and other small-scale works.

During recent cleaning trials, including external graffiti removal, specialists have uncovered yet more Victorian glazed tiles in the entrance corridor of the building, which have been painted over and hidden for decades.

This discovery accompanies the tiled finishes already uncovered within the Main Hall and underscores the importance of our investigation works, so that we can fully understand what lies beneath more modern finishes in order to ensure the building’s historical richness is sensitively restored and conserved for future generations.

Welcoming a new facilities manager

We’re excited to welcome Emma Brown as our new Facilities Manager. Emma will be working with our professional team to oversee capital repairs and maintenance at both the Trinity Centre and Jacobs Wells Baths.

With a wealth of experience in heritage conservation, Emma has previously served as Estates Manager for Tewkesbury Abbey and as Church Buildings Adviser for the Diocese of Bath & Wells.

She is also a Trustee of the Somerset Churches Trust and St Andrews Conservation Trust and a member of the Wells Cathedral Fabric Committee.

Emma’s passion for heritage, history, and conservation, combined with her extensive expertise, makes her the perfect addition to our team as we continue to care for these two iconic historic buildings.

Fundraising & support

We are grateful for the continued support from our funders and community, including the recent awards:

• Centrica: Energy for Tomorrow - £84,600 to advance our renewable energy scheme

• Historic England - £89,000 for expanded South Studio roof and masonry works

• Support from individual donors on our Fundsufer

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.

Through Citizens for Culture, we are creating the opportunity for people across the West of England to express their views to help shape an inclusive cultural plan for the region.

As we shape up plans for a 2025 Assembly, we are connecting with some of the people who have been part of the journey so far to ask them how they are exploring inclusive decision-making processes.

Knowle West Media Centre (KWMC), a Bristol-based arts and technology organisation, is a prime example of reimagining leadership and governance. Their commitment to creating fair and thriving neighbourhoods has led them to adopt more equitable and democratic practices.

In this piece, Martha King, co-director KWMC, shares their reflections on how the Bristol based arts organisation are embracing different ways of ‘organising’.

Martha King, Creative Co-Director, Knowle West Media Centre (KWMC)

KWMC is an arts and tech organisation in Bristol. Our mission is to ‘make fair and thriving neighbourhoods together, with arts, tech and care’. We believe in empowering communities and fostering non-hierarchical spaces for change making.

KWMC started in 1996. Back then it was all about democratising access to camera technology and supporting young people to tell their own stories. Now, we work with people of all ages, both locally and beyond, to imagine and co-create equitable futures through arts, technology, and collaborative making.

Being place-based, we want our organisational structure to reflect our commitment to inclusivity and non-hierarchical collaboration. This Easter, with the retirement of our founder-director, Carolyn Hassan, we saw an opportunity to re-evaluate leadership and explore new models of organising. We worked with Practical Governance Collective who helped us transition from a single CEO model to two co-directors as a step towards more distributed leadership.

Our journey towards more distributed leadership ….

During the pandemic, we connected with cooperative Outlandish, who supported our staff to use methods from Sociocracy, a values-based governance system, to embed consent-based decision-making within KWMC.

Sociocracy’s ‘circles’ method provides an easy-to-follow process where people bring forward proposals. All voices can be heard and decisions are made based on a process of iteration and consent, applying the notion of ‘good enough for now, safe enough to try’.

We support staff to use these tools through coaching and training so they can regularly develop these skills. We see coaching as a way of enabling staff, community, partners and artists to find their own solutions and assume leadership in relation to goals.

Our team of 30 is currently using Theory U, a systemic change method, to develop a refreshed collective vision. Through active listening and co-creation, we're forging a future built on shared understanding. This work is drawing on methods and approaches from the Clore Leadership Systemic change programme that I attended earlier this year.

Looking Ahead: Experimentation and Collaboration

There are many examples of good practices of organisations who are using alternative modes of organising. However, as the recent Arts Professional article highlighted, it is still not common for arts organisations to adopt non-hierarchical structures and use models such as Sociocracy. We are ready to go on this journey.

We are mindful, however, to make sure we don’t get too caught up on internal organising at the expense of delivering our activities. We are aware we need to keep thinking about how we can increase representation of our local community and other stakeholders at different levels of decision-making, inspired by models of Citizens’ Assemblies and the adoption of citizen juries by places like Birmingham Museums Trust.

At KWMC we are excited to go further towards more radical ways of organising that match our co-creating practices and are ready to experiment, learn and share with others.

Connecting and Sharing

KWMC are keen to connect with others doing similar things and are currently in conversation with FaCE about co-producing some talks that share inspirational practice in this field. Watch this space for more developments and feel free to reach out for a conversation: martha.king@kwmc.org.uk

Further Resources:

• Find out more about ‘Teal’ or self-managed organisations from ‘Reinventing Organisations’ by Frédéric Laloux.
• There are useful tips on the ‘Sociocracy for all’ website on setting up ‘circles’ and using consent based decision making.
• Dark Matter Labs blogs about organising beyond the rules.

Interested in finding out more?

Email Imogen@trinitybristol.org.uk to join our Citizens For Culture mailing list

About Citizens for Culture

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).

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

Historic England visit Jacobs Wells Baths. Credit Alistair Brookes

A place to dance? A place for community? A place to gather or a place to rehearse?

What are your hopes and dreams for the future of Jacobs Wells? We need your help to imagine the possibilities of Jacobs Wells as we breathe life back into this iconic building for future community use.

As part of our campaign to save Jacobs Wells Baths, we are calling out for people to take part in a photoshoot. Working with Bristol based photographer Khali Ackford, we will create a public photos series, capturing portraits of the people who will be at the centre of Jacobs Wells’ future. Through your participation, we can highlight the importance of our civic buildings and the impact on our community if those places are lost.

How to take part

If you would like to find out more about taking part in the photoshoot, please email Trinity’s Producer Esther Afikiruweh on esther@trinitybristol.org.uk or call the office, Monday to Friday 9am-5pm on 0117 935 1200.

We will let people know  if they have been selected by Friday 11 Dec.

About the photographer

Khali Ackford has built up a name for his iconic portraiture, working at the heart of some of the most culturally significant moments in UK’s history, including the UK BLM movement, the toppling of the Edward Colston statue in Bristol and marches against male violence.

About Jacobs Wells Baths

Since the start of 2023, Trinity has been on a mission to save the Grade II listed Jacobs Wells Baths building, following the news that Bristol City Council had put the asset up for disposal. Since securing a 35-year Community Asset Transfer lease, we’ve completed emergency repairs to limit further damage to the building and Phase 1 Repair Works are now underway to bring the space back into community use by Autumn 2025.

Image credit: Trinity Garden Party, Alastair Brookes

Trinity have joined forces with Eastside Community Trust, Windmill Hill City Farm and 13 other organisations to call for urgent action to protect and enhance Bristol’s shared spaces.

As part of this we are inviting organisations who manage community buildings across Bristol to take part in a survey that will form the foundation of a report on the importance of our city’s community spaces.

This report will build on insights from the 2021 Trinity Community Arts Lettings: A Community Canvas, highlighting the vital role these spaces play in supporting public health, social cohesion, and community wellbeing.

The survey is part of Roots of Resilience: Saving Community Spaces initiative, a city-wide call to action to protect and enhance Bristol’s shared spaces.

These spaces are currently under threat due to various challenges, including council budget cuts and legislation enabling the sale of council properties. Roots of Resilience advocates for urgent measures to safeguard these vital community assets.

Why we’re creating an updated report

The original 2021 report was produced in response to community spaces across the country facing closure due to ongoing council funding crises. Its findings led to Bristol City Council’s one-off £4m Community Resilience Fund, supporting building capital improvements.

Since then, budgetary pressures have worsened, with Bristol City Council estimating a £22m deficit for their 2024/25 budget. This indicates further cuts, increasing the pressure to sell publicly owned assets.

The updated report will aim to provide evidence that supports policy changes and secures long-term investments for the city’s community assets, ensuring their sustainability and accessibility for future generations.

Click here to complete the survey

The deadline for responses is Monday 13 Jan 2025

Share your story:

We’re also looking to meet with people to gather case studies. If you’re interested in featuring in the report, please get in touch at Imogen@trinitybristol.org.uk - we’d love to hear from you.

Thank you for your support. If you have any questions or require support with the survey, please don’t hesitate to contact us at Imogen@trinitybristol.org.uk.

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

Image credit: Josephine Gyasi

As part of this years celebrations of Black History Month we invited creatives and activists in the West of England to respond to the theme ‘Reclaiming Narratives’ through the lens of Citizens For Culture’s core principles: inclusion, voice and influence In the final piece as part of the series creative producer, facilitator and DJ Josephine Gyasi shares her poem: What Are Your Plans?

Josephine Gyasi: Reclaiming Narritives

Like so many, I was once again heartbroken and deeply shaken by the killing of an innocent Black person. In a dark period of isolation, shock, and deep reflection, I wrote these words to confront the enduring evils of inequality and police brutality — injustices embedded in the very systems that still structure our society today. This piece poses a clear message and a question to every non-Black person on the planet, especially those with the greatest power and privilege.

What Are Your Plans? Created in 2020.

I’m sick of death
I’m sick to death
I’M SICK OF DEATH
From all the way over there
How could you understand
That to walk outside your door
Might mean fate has other plans
You may never return
Instead you’ll be dead
Murdered.
On the streets
Like a rodent with disease
The White Man stops you
On your way
Thinks you’ve got too much to say
So he tears away your life
Makes you beg
And plead
And pray
We ask ourselves, why?
But the question is, why not?
Why would The White Man change?
With no orders from the top?
No justice
No peace
No racist police
The blood is on your hands
The blood is on your hands
The blood is on your hands
So, Mr White Man…
What are your plans?

Watch "What Are Your Plans" on Vimeo

Purchase "What Are Your Plans" Print: A3 size, 2 cm border, unframed, £33. Printed on Studio Expression Smooth Fine Art, a 100% cotton art paper.

Please add your name and address in the purchase link.

Interested in finding out more?

• Watch the first piece in this series, Goddess by NGAIO
• Read the second piece in this series, Justice by Mya Fraser
• 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

What Are Your Plans? Credits

Producer, Co-Director, Spoken Word Artist - Josephine Gyasi | Co-director, Camera, Editor - Pierre Niyongira | Music Composer - Xavier Redkwa | Production Assistant, Contributor - Aaliyah Celeste Blair | Contributors - Emma Blake-Morsi, Ade Sowemimo, Lawrence Hoo, Courtenay Welcome | Whose Future Billboard Campaign - Rising Arts Agency

About Citizens for Culture

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).

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).

Ice Road by Raucous credit Jack Offord. Performed at Jacobs Wells

At Trinity, we are committed to protecting public buildings and spaces and keeping them in the service of the local community. As part of our mission to restore and reopen Jacobs Wells, a former public swimming baths and dance centre into a vibrant community arts space, we have been gathering opinions from individuals with experience of breathing new life into former public buildings. We recently caught up with Kathryn Chiswell Jones of Artspace Lifespace, to share their experiences of occupying public spaces and the opportunities this affords the local community.

"Artspace Lifespace has a special affinity for breathing new life into old municipal buildings. Over the years, we've have occupied two former police stations, two former swimming baths, and even spaces at City Hall itself! Today, we proudly manage five unique art spaces in Bristol and North Somerset, with three of these spaces being municipal buildings that have been creatively repurposed.

Artspace Lifespace’s journey began in a former Audi garage. A site-specific show by sister company The Invisible Circus caught the attention of Bristol City Council’s Capacity Regeneration project team and supported our use of The Island (The Old Bridewell Police Station) in 2007. Our DIY attitude and "get it done" approach mean we can activate buildings quickly and affordably, breathing new life into spaces that might otherwise remain empty. Many of the buildings we've occupied have been council-owned and leased to us at peppercorn or reduced rents, allowing the council to bypass some of the red tape that often hinders transformative temporary use while saving them money by employing us as creative guardians.

It’s no surprise that people feel a deep sense of sentimentality and ownership over these municipal buildings. They’ve often been the backdrop to significant life events—weddings, celebrations, even personal challenges. Visitors to The Arts Mansion frequently share memories of their wedding day there, and we still hear stories from people who either served or were served at the Old Bridewell Police Station!

Municipal buildings carry not only historic and architectural significance but also help preserve local heritage and maintain the character of our communities. By repurposing these spaces, we help reduce maintenance costs and local authorities avoid the financial burden of managing unused properties. Adaptive reuse enables creative and innovative solutions, an opportunity to reimagine and repurpose spaces to meet contemporary needs while respecting the building’s original structure.

Renovating an existing building is often more sustainable and cost-effective than constructing a new one from scratch, but many buildings are often just left empty and deteriorate more quickly than buildings in active use.

"Artspace Lifespace are often described as catalysts for the ‘worthwhile’ use of disused properties. We love being agents of positive change, finding creative solutions for problem properties, and bringing life back to spaces that have been forgotten."

When we heard that Ashton Court Mansion was due to close, we approached the council to offer our management services while a long term solution was found. It was empty for five months before we took it on, and during that short period, the grade I listed door frames had swelled, just one of the common issues that can arise if a building is left empty. Initially, it was supposed to be a two-year temporary custodianship, but it has now stretched to eight years! We love that beautiful old mongrel of a house and it would be hard for us to leave, but its future requires significant investment and a long-term phased restoration plan to ensure it is a community resource for many more generations to come.

Navigating the reuse of old buildings is not without its challenges, from complex bureaucratic procedures to outdated infrastructure, such as outdated electrical systems, plumbing issues, or structural weaknesses. We also face challenges with accessibility in many of our meanwhile spaces. Because our focus is often on short-term solutions and quickly setting up spaces for community use, we lack the funding for permanent accessibility features. Many older buildings were not designed with modern accessibility in mind, making retrofitting costly and complex. One of the great things about municipal buildings is that they are generally designed to be accessible to the public.

Artspace Lifespace are often described as catalysts for the ‘worthwhile’ use of disused properties. We love being agents of positive change, finding creative solutions for problem properties, and bringing life back to spaces that have been forgotten. It’s always bittersweet for our staff and communities when it’s time to say goodbye to these spaces. After all, municipal buildings often serve as symbols of civic identity and pride and become integral parts of community life.

Old municipal buildings are more than just bricks and mortar; they are our cultural heritage, and ripe for creative reinvention. By championing the reuse of municipal buildings, Artspace Lifespace not only honours their storied pasts but also ensure they remain vital parts of our community’s present and future. We look forward to seeing where our journey takes us next!"

About Artspace Lifespace

Artspace Lifespace is a Registered Charity (No: 1168150) that recycles vacant, under-used and problem properties into thriving creative resources. We work in partnership with artists, building owners, property developers, local communities and organisations to secure and re-cycle interesting, unusual and often difficult buildings as vibrant multi-use art venues.

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

Festus Celebrations 2023 - Image Credit: Francisco Vicaria

This December we are hosting Festus - a fun packed festive themed all-day market celebrating African Caribbean and Black British culture.

Taking place on Saturday 07 December, Festus market will host stalls from local traders selling African/ Caribbean and Black British goods. There will also be craft activities for kids, food from the resident kitchen the Jamaican Hideaway, and feature a great soundtrack throughout the day.

"I had wicked fun. When are you doing it again?" Feedback, Festus

This years celebrations building upon last year's market and evening party hosted at Trinity following the culmination of a year-long celebrations of the 75th anniversary of Windrush. Across the two events, a day market and evening performances we welcomed over 200 people. Stalls included traditional textiles, artisans and craft stalls and information stands from community organisations.

We’re keen to provide a wide range of stalls with original gifts and ethical products so are looking for a wide variety of traders. Slots are also available for demos or for traders to present and talk a little about your work. Let us know if you'd be keen to take up this offer. Please contact info@trinitybristol.org.uk with any questions.

Sign up to be a stall holder

• Fill in our online form here to request a stall
• The deadline to apply is 9am Monday 25 Nov 2024

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.

'Citizens for Culture' is bringing together citizens - people living, working or staying across the West of England - to explore how creative opportunities can be inclusive and accessible for everyone in the region.

Taking place in 2025 this ambitious project aims to co-create a Cultural Plan for the three areas in the West of England Combined Authority.

As part of the successful delivery of the assembly, we are calling out for freelancers, artists, individuals, cultural workers and organisations to sign up to be ‘Assembly Associates’.

Associates will be advocates for citizens-led culture and will support the campaign by:

• Shaping the design of the assembly and associated activities

• Sharing Citizens for Culture opportunities within their networks and communication channels

• Submitting evidence to be presented to citizens in the assembly

• Publicly advocating for the outcomes of the assembly in their own practice, work or organisation

Why sign up?

Becoming an associate of Citizens for Culture offers an opportunity to actively shape the future of citizen-led culture for the region.

By joining Citizens for Culture, you can connect with audiences and others in the sector from across the region more directly. By signing up as an Associate you will have the opportunity to influence cultural policy, expand your networks and advocate for meaningful change in your own communities and sectors.

Find out more:

If you are interested in becoming an associate of Citizens for Culture and would like out find out more please get in touch with Citizens for Culture Producer Anjali at anjali@trinitybristol.org.uk