Over the next 18 months, LIFT: From Foundations to Transformation grant will help Trinity strengthen its creative programmes, develop its workforce and explore new approaches to community-led decision-making.

Trinity Community Arts is embarking on its next stage of development with support from Arts Council England, building on its established role in East Bristol while creating the foundations for its future.

Through LIFT: From Foundations to Transformation, Trinity will invest in its creative programmes, workforce development and digital infrastructure, alongside exploring new ways for communities to shape cultural activity and organisational priorities.

The 18-month project will support Trinity's core programmes across Creative Communities, Creative Health and Wellbeing, and Trinity Presents, its in-house programme of live music, performance and events. Together, these programmes create opportunities for people to take part in creative activity, support artists and connect culture with the needs and experiences of local communities.

A key part of LIFT will be developing and piloting a new Membership Panel, creating opportunities for community members to play a more active role in shaping Trinity's cultural offer and organisational priorities.

This builds on Trinity's involvement in Citizens for Culture, a programme exploring how people can have a greater say in the cultural decisions that affect them. Drawing on this learning, Trinity will explore how to move beyond consultation towards more meaningful shared decision-making.

Adam Gallacher, Deputy CEO at Trinity Community Arts, said:

“LIFT is about building on what we’ve learnt and creating the conditions for Trinity to keep developing. We want to strengthen the work we’re already doing with communities and artists, while making space to test new approaches and think differently about how decisions are made.

“Our involvement in Citizens for Culture has helped us explore what citizen-led cultural decision-making could look like. This project gives us the opportunity to build on that learning, work out what it means in practice for Trinity, and develop an approach that gives communities a more meaningful role in shaping our work.

“It’s about recognising the value of what we’ve built so far, while creating the foundations for what comes next.”

LIFT will also support Trinity's longer-term development as a multi-site cultural organisation, building on the experience and relationships established at Trinity Centre as work develops at Jacobs Wells Baths.

Alongside its creative programmes, investment in workforce development and digital infrastructure will strengthen Trinity's capacity to work across both sites, connect with audiences and communities, and build a sustainable future for its work across Bristol and the wider region.

For the first time, communities will have the opportunity to directly influence and choose the programmes that best meet their needs

Jamell Ackford, Director of Culture at Trinity Community Arts, adds:

"It’s exciting to have this opportunity to take our engagement with local communities a step further. Through our Membership Panel, we can listen directly to what matters most across our key priority areas and give communities a genuine voice in shaping the programmes and services we commission.

"We have worked in partnership with communities for many years, but decisions have often been based on what we believed people wanted. This initiative changes that. For the first time, communities will have the opportunity to directly influence and choose the programmes that best meet their needs.

"The Membership Panel is the next step in ensuring the right voices are around the table, helping us strengthen and elevate our programme through meaningful community-led decision-making"

Jake Mensah, Youth & Children Services Manager at Trinity Community Arts continues:

"For more than a decade, our children and young people’s programmes have provided a constant, trusted presence within the communities we serve. This new funding will help us build on that foundation, ensuring established programmes such as Next Gen Sounds, Speak Out, Girls Group and Hype Dance can continue to provide safe, inclusive and empowering creative spaces where young people can shape activity, develop their creativity and confidence, and build a sense of belonging. It will also allow us to strengthen existing programmes and partnerships, building on the trust, relationships and local knowledge developed over many years.

Working alongside partners including Bristol Horn Youth Concern, Bristol Youth Connect, Love Stapleton Road and local schools such as Easton CE Academy, St Nicholas of Tolentine Primary School, Hannah More Primary School, City Academy Bristol and Oasis Academy Temple Quarter, we will continue to create opportunities for children and young people to have their voices heard, develop their potential and play an active role in shaping the future of their communities through the creative arts."

Working collaboratively with our communities, staff, artists, partners and visitors, the successful creative partner will explore how the building can better communicate Trinity's identity, values, heritage and the diverse communities that shape it. The commission will use co-design to develop a creative vision and practical approach that makes Trinity easier to navigate, more welcoming and more reflective of the people who use it.

As a Grade II* listed arts and community venue with over 50 years of history, Trinity is a place shaped by generations of creativity, activism and community action. We are looking for a partner who can listen deeply, gather stories and experiences, and translate these into a coherent visual language for the site.

The commission has a budget of £15,900 inclusive of creative fees, consultation, design development and delivery costs. Outcomes may include creative wayfinding, accessibility improvements, interpretation panels, integrated artwork, storytelling interventions and visual expressions of Trinity's values throughout the building.

We welcome applications from individuals, collectives, designers, artists, architects, makers and organisations with experience of community-led design, participatory practice and the development of creative work within cultural, heritage, public or community settings

Budget: £15,900
Location: Trinity Centre, Bristol
Timeline: November 2026 to June 2027
Application Deadline: Wednesday 25 November, 5pm

For full details and application information, download the commission brief.

Easy read version can be downloaded here

This summer, Trinity and Coexist Community Kitchen came together once again to run our Gardening & Cooking programme in the Community Garden. Combining Coexist's culinary expertise with Trinity's gardening knowledge, participants spent six weeks cooking with seasonal produce, learning practical growing skills and taking part in nature-based arts activities. The programme was originally developed in response to increasing isolation experienced during the pandemic and continues to provide opportunities for people to connect, learn and spend time outdoors.

One of this year's participants was Karen, who attended the sessions alongside her husband, Matt.
Karen first became involved through Coexist Community Kitchen after being introduced through Diverse and attending other community meals and activities. Although she had heard of Trinity before, she had never visited the space and was surprised to discover the garden tucked away in the city.

"The garden is lovely," she says. "You can be outdoors, learn how to use the fire, cooking outside. I've never cooked outdoors before on the fire." Over six weeks, Karen enjoyed developing new skills, from growing and harvesting vegetables to outdoor cooking and creative activities. She particularly valued learning from the team and spending time in nature."Meeting you guys, doing the art has been amazing. I've really enjoyed that. Just being in nature. Being in the city but in nature."

For Karen, the programme offered more than practical learning. As a carer for Matt, finding spaces where they both feel comfortable can be difficult. She says being able to attend together, and knowing Matt felt safe in the environment, made a huge difference.

"He has come every single week. That's a testament to how safe he feels here."

The sessions also helped Karen build confidence socially."I think there's been a connection to nature, being outdoors, meeting new people. I am quite socially awkward, so to actually chat and to feel safe, because I mask a lot, it's been nice to meet new people."

Alongside new friendships and experiences, Karen has taken away practical knowledge she hopes to use at home, from understanding growing cycles to feeling inspired to make more use of her own garden. 
She would encourage others to get involved."You learn new skills, new things to cook, how to grow things and how to harvest things."

Karen and Matt are now looking forward to getting more involved with Trinity activities, including attending Trinity's AGM, while continuing their connection with Coexist Community Kitchen.
This year's programme concluded with a Harvest Feast, where participants came together with the Coexist and Trinity teams to share food, celebrate the season's harvest and mark the end of the course. The gathering offered a chance to reflect on new skills, friendships and experiences developed over the course, while enjoying a meal prepared as a group.

To find out more about Trinity's Gardening & Cooking programme and other community activities, chick here.

In a recent editorial, The Guardian argued that adult education is about more than qualifications. Reflecting on a new report from MPs, it highlighted how "acquiring new skills can be a first step on a longer journey – a way to begin to imagine different futures".

At Trinity, we're seeing that play out through our adult learning programme.

Working in partnership with SGS College and Bristol School of Art, we've recently welcomed the third cohort of learners onto our Employability Through Arts & Crafts: Skills for Life and Work course. The 15-week accredited programme was developed specifically for Trinity and uses creative activities to support learners to develop communication, teamwork and employability skills.

The programme builds on several years of work with local partners to create accessible adult learning opportunities in our community. Many participants are referred through organisations including Bristol Drugs Project, Horizons, inHope, Aidbox Community, The Junction Project and local health centres, helping people access learning in a familiar and supportive environment.

The course has already supported learners to progress on to further study through SGS College and Bristol School of Art. Others have gone on to volunteer with arts-based projects at Trinity and partner organisations including St Paul's Carnival.

This year's intake has also seen an increase in the number of participants. While the first two cohorts each welcomed around three learners, the current cohort began with 10 people enrolled and attending weekly sessions. The most recent learners have become some of the programme's strongest advocates. Several returned to support taster sessions, sharing their workbooks and experiences with prospective participants and encouraging others to sign up.

The Guardian editorial also notes that "learning can contribute to health and wellbeing" and highlights the importance of relationships in adult education. That resonates strongly with what participants tell us about the course, where shared learning and creativity have helped build connections between people from different backgrounds.

"This course provided a real sense of a community working together which has been so good for me."

At a time when adult education is receiving national attention, this programme demonstrates the value of local, community-based learning. Alongside qualifications and progression routes, it creates space for people to learn together, build meaningful relationships and take part in arts activity that supports their wider health and wellbeing.

Find out more about our community programme and explore upcoming events here.

In our first Your Trinity story, Dr. Edson Burton reflected on Trinity's role in giving Black artists, communities and emerging cultural movements space to gather, experiment and be heard. Read here.

That history isn't finished.

In this piece, Jamell Ackford reflects on what creating space for culture looks like at Trinity today, and why it still matters.

Answering the question: what excites you about the artists, sounds and ideas we’re platforming now, and why is creating space for this work still important?

Trinity's history is wrapped up in the birth of many beautiful genres, cradling heritage sounds from the rise of Soundsystem culture in the uk. Creating space for reggae and punk, which holds the space for emerging sounds such as Ska, Jungle, D&B.

What excites me most about the work we do, and the wider programming that happens across the building

What excites me most about the work we do, and the wider programming that happens across the building, is the possibility of creating those 'what the hell is this moment'. The experience of hearing something completely new that reshapes your understanding of music. Artists and sounds coming through Uganda's Nyege Nyege label are a great example of this. Seeing DJ Travella within our walls was an eye-opening moment, which doesn't happen too often.

For me, it's about keeping heritage at the forefront while creating space for the future to emerge in exciting and unexpected ways. Nights such as Teachings in Dub, Pangea (AnExperience), Accidental Meetings and Seedling Sessions, alongside artists like Grove, Batu and Omega Nebula and labels such as Deep Medi and Rupture, all play a vital role in keeping culture moving forward while remaining connected to its roots.

What Does That Look Like Today?

Seedling Sessions x Black Creatives

• Celebrating 50 years of music at Trinity and 10 years of Seedling Sessions with a special Black History Month edition in collaboration with Black Creatives.
• A genre-crossing lineup featuring KWAZI, TIA, iAM13E, MĀDŁY, SOULBEE, Cindy BlackBird and BLCK Stream.
• A celebration of Black creativity, culture and community from Bristol and beyond.

Adventures in Hidden History:

• A joyful, interactive adventure celebrating hidden histories, remarkable lives and Global Majority trailblazers.
• Live music, oral history and imaginative storytelling combine to bring untold stories to life.
• Exploring identity, colonialism and alternative histories through a family-friendly lens..

Teachings In Dub:

• Dub legends Iration Steppas bring their heavyweight Leeds soundsystem to Bristol for a highly anticipated edition of Teachings in Dub.
• Going head-to-head with Bristol/Birmingham sound system Concrete Lion in a powerful clash of roots, bass and sound system culture.
• Expect a full-force sound meeting drawing dub heads from across the country.

Omega Nebula:

• UK future dub duo OMEGA NEBULA bring their powerful blend of dub, reggae and electronica to Trinity.
• An immersive live show with added pressure from Sinai Soundsystem
• Pushing dub into new territory with a high-energy fusion of live and electronic performance.

Festus Market:

• A festive all-day market celebrating African Caribbean and Black British culture.
• Discover unique gifts, handmade products and local traders offering everything from jewellery to cosmetics.
• Enjoy family-friendly craft activities, storytelling and free badge-making workshops.

Soak up the festive atmosphere with hot sorrell, great music and community spirit throughout the day.

For Black History Month, Edson Burton looks back at the people, music and movements that have shaped Trinity, asking what that history tells us about the importance of giving emerging culture space to grow.

By Edson Burton

“One man’s trash is another man’s treasure.” My mangled version of this aphorism can be applied to the Trinity Centre.

In the 1970s, with congregations falling and maintenance costs rising, the Diocese closed Holy Trinity Church. The building was acquired by Bristol Caribbean Community Enterprise (BCCE), one of several organisations formed by Caribbean migrants to respond to the needs of Bristol’s first and second generations.

Black Bristolians faced multiple levels of marginalisation, from unemployment and inequalities in education to exclusion from parts of Bristol’s nightlife.

Music captured the mood of the time. Creativity born of difficult circumstances was in abundance. Places to practise and express that creativity were not.

Creativity was in abundance. Places to practise and express that creativity were not.

BCCE saw in the cavernous former church an answer to some of the challenges facing the community. It offered skills training, meeting space and somewhere community groups could gather and rehearse. But a younger generation began to see another possibility for the building.

A space for reggae

Reggae was the voice of a younger generation. Heavily influenced by Rastafarianism, it spoke to the marginalisation of the Black poor in post-colonial Jamaica while also finding resonance in the experiences of a second generation of Black Britons.

As Richard Davis remembers:

“We still really didn’t have a lot of access to white clubs... West Indian party, that’s the main entertainment. Sound systems, Tarzan the High Priest, that was everything to us.”

Bristol’s reggae scene grew around sound-system culture. As audiences increased, pubs and blues parties could only accommodate so many people.

Trinity offered something those spaces couldn’t: room to grow.

Its 500 to 600-capacity hall provided a next step for Bristol’s developing reggae scene. Trinity outreach worker Roy De Freitas encouraged young people to use the building as a music venue and, from the late 1970s, Trinity became part of a network of grassroots venues providing a home for reggae.

Bristol bands including Black Roots and Misty in Roots performed here, alongside artists including Eek-A-Mouse and dub poets Linton Kwesi Johnson and Benjamin Zephaniah.

These venues were platforming reggae artists well before the music attracted mainstream interest. They gave musicians somewhere to develop their craft in front of audiences deeply connected to the culture surrounding the music.

When cultures meet

Trinity also became one of the spaces where Black and white artists could meet, share ideas and create music.

Out of encounters across Bristol’s music scene came what would eventually become known as the Bristol Sound. Artists including Smith & Mighty and Massive Attack drew inspiration from sound-system culture, bringing influences from reggae and dub together with electronic production.

This is perhaps where the importance of cultural space becomes clearest. Providing somewhere for an existing scene to perform is one thing. Providing somewhere different people can encounter one another can lead to something nobody predicted.

From reggae to rave

After closing in 1984, Trinity reopened in 1987 and again became a home for emerging music.

Audiences gathered around house, hip hop and jungle, while Trinity’s grassroots ethos chimed with the free-party and rave scenes of the period.

Club nights such as Ruffneck Ting brought artists including Roni Size, Krust and the Full Cycle crew to Trinity as jungle and drum and bass developed into major musical movements.

Live music evolved alongside club culture. The 1990s brought artists including Terry Callier, Galliano and Gil Scott-Heron, while hip hop acts including Public Enemy also appeared on Trinity’s stage.

Across different genres and generations, the pattern is remarkably similar. New sounds emerge outside the mainstream. People build communities around them. Those communities need somewhere to meet, perform and experiment.

Given the right space, they grow.

What does that history mean today?

Trinity reopened under new management in 2004. Since then, iconic sound systems have returned to the hall while new generations of artists have continued to reshape the musical influences that passed through the building before them.

But perhaps the lesson of Trinity’s history isn’t about any individual genre.

Again and again, cultural movements that were marginalised, dismissed or simply not yet understood by the mainstream found audiences in grassroots spaces. Reggae, sound-system culture, jungle and drum and bass did not arrive as established cultural institutions. People made them.

They needed somewhere to do it.

That leaves cultural spaces like Trinity with an important question today: are we prepared to make room for work before it is established, and give artists and communities space to experiment without already knowing the outcome?

Trinity’s history shows what can happen when we do.

Some of the sounds that once sat outside Bristol’s mainstream now form part of the city’s cultural identity. The challenge is creating the conditions in which the next generation can make something of their own.

Ten years after the first Seedling Sessions, founder MĀDŁY is marking the anniversary with a Black History Month special at Trinity.

This Sunday, 11 October, seven musicians take to the stage alongside visual artists showcasing and selling their work, as Seedling Sessions joins forces with Black Creatives.

Ahead of the night, we caught up with MĀDŁY about ten years of creating space for emerging artists, what excites her about Bristol’s music scene right now and what she hopes Seedling Sessions can make possible next.

Q: Seedling Sessions is turning 10 this year. Can you tell us a bit about this year’s event and what you’ve got planned?

Seedling Sessions is turning 10 to the day on Sunday, 11th October, and for the occasion I wanted a slightly different format than usual. Instead of having 3 acts from different genres of music, we are showcasing 7 Bristol musicians with different music journeys.

Q: You’re working with Black Creatives for this Black History Month edition. How did that collaboration come about?

I've been wanting to collaborate with Black Creatives for some time, and thought what better occasion to do so than during Black History Month. The Black creative community is very diverse and full of up-and-coming artists, which totally matches with the essence of the event. Being a black creative myself, it makes even more sense to use my platform to highlight fellow musicians.

We are delighted to be joined by artists mixing painting, photography, prints and litterature

Q: There’s a real mix this year, with music, visual art, food and community all part of the programme. What brought those different elements together?

Since it is BHM, we decided to not only focus on music, but put the spotlight on other art forms. Rider Shafique, one of the founders of Bristol's Black Creatives, has put out a call for artists wanting to have a stall to exhibit and sell their art. We are delighted to be joined by artists mixing painting, photography, prints and litterature; Celebrating Black Culture featuring artists including Yum Yum Art, Jodi Hunt and Rider Shafique.

Q: Some of the artists on the line-up, including KWAZI and TIA, are getting a lot of attention through projects like Steeze Factory. What’s exciting you about Bristol’s music scene at the moment?

Bristol's music scene is so eclectic and diverse, it's mind-blowing. I love how a lot of artists are not sticking to only one genre of music and explore a wide palette. I admire how independent the scene still is and how supportive the Bristol community is.

Just like the artists it has promoted over the years, the night developed and got bigger.

Q: Seedling Sessions has been going for 10 years now. What do you think its role is in Bristol’s music and creative scene?

I would like to think that Seedling Sessions is a grassroots showcase that has helped some independent artists and has seen the start of great acts like Holysseusfly or Snazzback. Just like the artists it has promoted over the years, the night developed and got bigger. Since 2024, it has moved to Trinity, which is an iconic independent venue in Bristol. Celebrating 10 years in a grassroots venue, celebrating 50 years only feels right. Trinity being legendary in Bristol, offering an opportunity for up-and-coming artists to play there is a bonus.

Q: And looking ahead, what would you like Seedling Sessions to keep building or making possible?

I would like Seedling Sessions to become a renowned space for emerging talents to get on the radar of bigger promoters, using the space as a stepping stone for their careers. Offering off-stage roles opportunities is also an important part of the programme, as musicians are not the only ones facing challenges breaking into the industry.

See Seedling Sessions Celebrating Black History

Seedling Sessions celebrates its 10th anniversary at Trinity on Sunday 11 October, with seven musicians performing alongside work from Black visual artists available to explore and buy on the night.

Book tickets from £7

Around 250 people came together at Trinity’s Community Day Celebration for a free programme shaped by the communities who use the space. Through live performances, workshops, exhibitions and shared food, the day celebrated local groups, individuals and organisations that make Trinity special.

Each week, Trinity offers a safe and welcoming daytime space where local people can meet, socialize, learn new skills, enjoy the garden, and be creative.

Planning for this year’s Community Day Celebration began in the spring. We welcomed a group of people with different connections to Trinity, including local residents, volunteers, attendees of weekly groups and artists, to understand their experiences of Trinity and hear how they would like to shape its future.

Together, we explored what Trinity’s annual Community Day Celebration should be. We explored who it is for, what it celebrates and how we can best support people to attend.

Suggestions included collaborations between groups sharing the stage; opportunities for people to lead and participate in poetry, craft and dance workshops; access for grassroots collectives to highlight their community messages; safe spaces for asylum seekers and refugees; space for brown- and black-led events; and a day with no cost to participate.

On the day, we welcomed around 250 people for a free programme of live performances, creative activities, heritage tours, workshops and exhibitions. Performers included Bristol Samba, Gerry’s Attic, Gentle Dance, Sober Spaces, Next Gen Sounds and City Academy’s music group. Colourful Minds and graduates of Borderlands’ Creative Leadership Training programme led workshops and shared skills in embroidery and flower making. Baraka Community Cafe provided delicious soup and samosas.

Young people were not simply invited to perform at Community Day; they also helped shape their involvement. Through Trinity’s youth groups, drop-in music sessions and after-school clubs, participants spent the weeks leading up to the event deciding what they wanted to present, how they wanted to perform and how they would work together. This approach reflects Trinity’s wider commitment to listening to young people and co-creating programmes around the opportunities they say they want and need.

Jake Mensah, Trinity’s Youth Service Manager, said a highlight was seeing young people’s confidence grow as they shared their work with hundreds of people, supported by friends and family. Community Day gave them a safe and welcoming platform to express themselves, try something new and see their ideas valued, an experience summed up by one participant: “I learned that it’s not scary to perform.”

Feedback from the day was overwhelmingly positive:

The whole atmosphere felt joyful, welcoming, relaxed

the range of food offered was really great

the tour ... (was a) sparkling feature of the event. So important to offer this. I learnt a lot about Trinity.

Reflecting on the day Jen Farmer, Trinity's Arts Engagement Manger said: "The next step is to consider who was missing from the day and how to ensure they have a place next time, as we continue our shared journey from collaboration to co-creation.

We hope you will join us next time."

Tesco Groundwork funded the soup and samosas provided on the day.

Thank you to Cakesmith and Extract Coffee for the delicious complimentary treats.

Photos by Ciara Hillyer

Deadline: This is a rolling recruitment process, and applications will be reviewed as they are received.

As the first point of contact for visitors, this volunteer role offers the opportunity to gain experience in reception, administration, and customer service while supporting the work of Trinity. You'll help welcome visitors, answer enquiries, provide information, and support the smooth day-to-day running of the building.

Location: Trinity Community Arts, BS2 0NW

Availability: Flexible hours Monday to Friday, between 9am and 5pm. Suggested contribution is 2 to 8 hours per week. Actual hours will be agreed between the volunteer and their line manager.

Main Activities

• Covering reception duties and being the first point of contact for visitors
• Answering phone calls, taking messages, and connecting people with the right member of the team
• Directing people around the building to relevant activities and events
• Providing occasional event support
• Contributing to a safe, welcoming, and inclusive environment for everyone who uses the building

Skills and Experience

No specific skills or experience are required for this role. We are looking for people who:

• Are friendly and approachable
• Feel comfortable communicating with a wide range of people
• Are reliable and willing to learn
• Are enthusiastic about supporting their local community

Full training and ongoing support will be provided.

Benefits of Volunteering with Trinity

• Be part of a creative, inclusive, and community-focused organisation
• Gain experience in reception, administration, customer service, and event support
• Work alongside an inspiring mix of staff, artists, and community groups
• Reimbursement of travel expenses (up to £10 per day)
• Guestlist tickets to live music and club events
• DBS check provided, supporting future employability and career development
• Discounts at selected local restaurants, pubs, and cafés
• Professional references available to support future employment, education, or training opportunities
• Tea, coffee and biscuits provided!

How to Apply

1. Read the Reception Volunteer role description.
2. Please write a brief statement telling us why you are interested in the role and what you would bring to the volunteer team.
3. Email your statement to info@trinitybristol.org.uk with "Reception Volunteer" in the subject line.

Please note that recruitment is ongoing and applications will be considered as they are received.

Trinity is committed to equality, diversity and inclusion and actively encourages applications from people of all backgrounds and communities.

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 application process. To discuss your requirements, please contact info@trinitybristol.org.uk, call 0117 935 1200, or visit the Trinity Office between 9:30am and 4pm, Monday to Friday.

A year ago, 51 citizens from across the West of England came together to explore a big question: what would culture and creativity look like if they were for everyone?

Selected through a civic lottery, they brought different experiences and perspectives. They listened, challenged assumptions and worked together to create the Citizens’ Cultural Plan – a shared vision for creativity and culture across the West of England.

A new independent documentary, commissioned by Citizens for Culture, tells that story from the citizens’ perspective: why they took part, what happened when they came together and what they wanted to change.

Assembly members talk about wanting culture to be “available for as many people as possible”, about seeing their communities better represented, and about the value of bringing different voices together to find stronger solutions.

The film follows their journey through to the moment the Citizens’ Cultural Plan was shared with the Mayor of the West of England – and how the shift from Assembly to Action began.

A year on, Assembly members remain involved through a Citizens’ Panel which will oversee delivery of the Plan over the coming three years. Communities, cultural organisations, artists, freelancers, educators, local authorities and other partners across the region have also been exploring how the ideas in the Plan can be turned into action through a series of Citizens for Culture Roadshows.

Helen Godwin, Mayor of the West of England, said:

From festivals and theatre to sport, film and TV, culture is a huge part of who we are in the West. Everyone across the region should have the chance to enjoy it, feel part of it and have a say in what comes next.

That’s why I was so pleased to see 51 people from across our region come together through the Citizens’ Assembly to help develop a shared vision for culture here. Their work has given us a plan shaped by the people who live here, for the people who live here - and I’m delighted that they will continue to have a voice through the Citizens for Culture panel. I hope this film encourages even more people to get involved and play their part in the cultural life of our region.

How would you like to be involved?

Citizens for Culture is asking people and organisations across the West of England to watch the film and tell them how they would like to be involved in what happens next.

Watch Citizens for Culture: 
https://youtu.be/5h9hiRjcHs4

Get involved: 
Tell Citizens for Culture how you or your organisation would like to be involved

Every year, Trinity holds an Annual General Meeting (AGM).

On Thursday 29th October, Trinity will be hosting our annual AGM. This is a chance to come together, hear what we've been working on, celebrate what we've achieved with the people and communities we work alongside, and look ahead to what's next. And everyone is invited.

"It's one of the few times each year that people from across Trinity's projects, programmes, partnerships and communities come together in one room. It's an opportunity to hear what's been happening across the organisation, celebrate what we've achieved together and look ahead to what's next" - Jen Farmer, Arts Engagement Manager, Trinity Community Arts.

This year we'll be sharing stories, films, performances and highlights from across Trinity, alongside the formal business we need to complete as a charity and membership organisation.

Why Come Along?

The AGM is one of the few times each year when people from across Trinity's programmes, projects, partnerships and communities come together in one room.

It's a chance to:

• Find out what has been happening across Trinity over the last year.
• Meet people involved in different projects, groups and activities.
• Learn more about how Trinity works and how decisions are made.
• Hear about future plans and opportunities to get involved.
• Celebrate the work, creativity and achievements of our communities.
• Ask questions and share your thoughts.
• Connect with artists, partners, volunteers, members and supporters from across the city.

If you've ever wondered what else happens at Trinity beyond the activities you're involved in, this is a great opportunity to find out.

What Happens at an AGM?

As a charity, there are a few things we legally need to do.

These include:

• Sharing our Annual Report and Accounts.
• Reviewing the previous year's minutes.
• Providing updates on Trinity's work and finances.
• Holding any formal member votes.

Alongside this, we'll be sharing stories, films, performances, photos and highlights from across the organisation.

The aim is to make the evening informative, welcoming and celebratory, not just a room full of paperwork.

Who Can Attend?

Anyone can come along.

Some parts of the AGM involve formal voting, which is reserved for Trinity members, but the wider event is open to anyone who would like to hear more about what we do and meet the people connected to Trinity.

Whether you've been involved for years or are completely new to Trinity, we'd love to see you there.

Frequently Asked Questions

Do I need to be a Trinity member?

No. Everyone is welcome to attend.

Do I need to book?

Yes, we'd encourage you to let us know you're coming so we can plan the space and refreshments.

Is it just presentations and paperwork?

Definitely not.

We'll be sharing films, performances, stories and project highlights alongside the formal AGM business.

Can I ask questions?

Yes. There will be opportunities to ask questions and find out more about Trinity's work.

Can I vote?

Formal votes are reserved for Trinity members.

I've never been before. Is it for me?

Absolutely.

Many people attend simply to learn more about Trinity, meet new people and hear what's happening across the organisation.

Join Us

We're looking forward to bringing together the many people, groups, artists, partners, volunteers, members and supporters who make Trinity what it is.

Come along, meet some new faces, catch up with familiar ones, celebrate the year we've had together and hear what's coming next.

Email info@trinitybristol to RVSP by Thursday 22 October to secure your spot

Our Freedom workshop by Jon Aitken

Trinity is a member of Future Arts Centres, a national network of more than 180 arts centres working together to champion the unique role that creative spaces play at the heart of their communities.

Being part of the network connects Trinity and our communities with arts organisations across the UK, creating opportunities to share ideas, learn from one another and collaborate on new approaches to community-led cultural work. It also gives us a national platform for the role that places like Trinity can play in bringing people together, supporting artists and creating opportunities for people to participate in culture.

As part of this network, in 2025 Trinity contributed to Our Freedom: Then and Now: a UK-wide creative programme marking the 80th anniversary of the end of the Second World War and exploring what freedom means to people and communities today. The programme created 60 new pieces of art, working with local artists and communities to explore ideas of freedom through different forms of creative practice.

At Trinity, photographer Leticia Valverdes worked with collaborators at the Centre to document their response to a collaborative artwork created with textile artist Sonja Burnie, Bristol poet Sukina Noor and members of the community. Participants were invited to dance with the work to a song they had chosen to express their own sense of freedom. The resulting photographs are touring the UK in 2026 as part of the national Our Freedom exhibition.

Our involvement builds on Future Arts Centres' previous Here and Now programme - a national celebration of culture within communities in 2020. 40 arts centres across the country delivered projects led by artists and co-created with local people. Trinity worked with award-winning multi-disciplinary British/Iranian artist Roxana Vilk to develop her project Lullabies, celebrating the diversity of cultures who call Bristol home. Lullabies connected communities through the sharing of songs, celebrating the stories and the heritage behind them.

Being part of Future Arts Centres is about being part of a collective of arts centres, demonstrating how creative spaces can be rooted in their communities while also connected to a wider national cultural network.

Details on how to join Future Arts Centres can be found here.

As part of Trinity50, a year-long celebration marking 50 years of Trinity Community Arts, people across Bristol are being invited to share photographs, recordings, flyers and memories that tell the story of one of the city's most significant community and cultural spaces.

The public call-out forms part of Your Trinity, Trinity50's storytelling campaign exploring Trinity's past, present and future through the voices and experiences of the people who have shaped it.

Trinity is inviting audiences, artists, volunteers, community groups, staff, partners and residents to submit photographs, videos, voice notes, recordings, flyers, posters and personal memories from the last fifty years. Alongside memories of the past, people are also being encouraged to share their hopes, ideas and ambitions for Bristol, Trinity and community life over the next fifty years.

A selection of contributions will feature in a public exhibition at Trinity's Garden Party in May 2027, bringing together memories of the past, reflections on the present and ambitions for the future.

Since the Holy Trinity Church last recorded service in 1976 and the buildings purchase by the Bristol Caribbean Community Enterprise Limited the following year, local people secured its future as a community space, playing a vital role in Bristol's cultural and community life. From sound system culture and grassroots organising to youth programmes, artist development, creative health projects and live music, the organisation has evolved alongside the communities it serves.

The campaign aims to celebrate what Trinity believes is a hidden archive of stories scattered across Bristol. Found in family photo albums, old flyers, personal collections and shared memories, these stories capture the people, communities and cultural movements that have helped shape the city.

As Trinity looks towards the restoration and reopening of Jacobs Wells Baths in 2029, Your Trinity draws a line between past and future. Fifty years ago, community action helped secure Holy Trinity Church for public use. Today, Trinity is applying that same commitment to the stewardship of another important Bristol landmark.

Jamell Ackford, Director of Culture at Trinity Community Arts, said:

"For 50 years, Trinity has been shaped by the people who use it. Our story isn't simply about a building. It's about communities coming together through creativity, culture and collective action."

"We're asking people across Bristol to help uncover the photographs, recordings and memories that tell the story of not just Trinity, but the city itself. We want to celebrate those experiences, learn from them and carry them forward."

"As we look towards the reopening of Jacobs Wells Baths and the future of Trinity, we're building on fifty years of relationships, experience and community trust to imagine what comes next together."

Speaking about Bristol's cultural legacy, Daddy G of Massive Attack said:

"Although Bristol is one of the smaller cities in the UK, the creative and cultural impact it has made on the world has been huge. It is exciting to see this continuing with the new generation of creatives coming out of this city."

The campaign will highlight the people, ideas and cultural movements that have contributed to Bristol's creative identity, from community campaigns and youth projects to sound system culture, artist development and international collaboration.

Through Your Trinity, the organisation hopes to preserve stories that might otherwise be lost while creating new conversations about the future.

People can find out more and submit contributions by emailing press@trinitybristol.org.uk.

Trinity Community Arts is proud to share the final evaluation report for our Cultural Alliance programme – a three-year partnership with four local primary schools that has transformed how children experience creativity in education.

Rather than delivering one-off arts workshops, the Cultural Alliance was built on long-term relationships, working alongside schools, teachers, artists, children and families to co-design creative learning that responded to local need. Through weekly drama and dance sessions linked directly to the curriculum, the programme demonstrated how creativity can unlock confidence, imagination and participation for children facing some of the greatest barriers to accessing arts and culture.

Across the programme:

• 483 children participated in curriculum-linked creative learning.
• Four local primary schools became long-term partners.
• 720 hours of drama and dance were delivered by professional artists.
• 29 teachers and teaching assistants worked alongside practitioners, embedding creativity within everyday school life.

The report highlights how sustained creative engagement helped children build confidence, strengthen communication skills and engage more deeply with learning. Teachers consistently described improvements in participation, writing, understanding of curriculum subjects and self-belief, particularly for children with SEND and those learning English as an additional language.

One of the report's strongest messages is that meaningful change takes time. Rather than delivering a fixed programme, Trinity listened, adapted and developed the work alongside schools over three years. This relationship-based approach created lasting trust and a model that schools now want to build upon.

The evaluation, led by Dr Harriet Hand, Bristol University, concludes that the programme's legacy extends far beyond individual sessions. It has strengthened relationships between Trinity, schools and families, developed a tested model for connecting culture, education and community, and laid the foundations for Trinity to become a trusted long-term arts partner for local schools.

The programme was made possible through the generous support of the Paul Hamlyn Foundation, Linbury Trust and Nisbet Trust, alongside the commitment and collaboration of our creative partners Movema and acta Theatre, our participating schools, artists, practitioners, children, families and the wider communities who shaped the programme throughout its three-year journey.

As we look ahead, the Cultural Alliance has given us more than an evaluation of a successful project. It has provided a blueprint for how creativity, when rooted in trust, collaboration and long-term partnership, can help children flourish and strengthen communities.

Read the full Cultural Alliance evaluation report to discover the stories, learning and evidence behind this remarkable three-year journey.

There is something really special about seeing a public space come alive through creativity, and this year's Bristol Harbour Festival was a wonderful reminder of what can happen when artists, community groups and audiences come together. Trinity worked alongside Circus City to programme and deliver the Tidal Stage in Queen Square, creating a space for people to gather, perform, connect and celebrate.

Across the weekend, the stage was filled as we brought together grassroots artists, organisations and community groups from Bristol and across the South West, placing them front and centre in one of the city's biggest free festivals.

From younger performers taking to the stage to artists who have been sharing their practice for decades, it felt like a real celebration of the many people who make up our creative communities. Trinity groups including HYPE and Gerry's Attic were part of the programme, sharing the stage alongside a fantastic range of performers and organisations.

Families stopped on their way through the festival and stayed for a performance. Friends gathered on the grass to watch a dance company they had never seen before. Performers cheered each other on from backstage and audiences joined in throughout the day. There was a generosity to the atmosphere that felt uniquely Bristol.

The sunshine certainly helped, but it was the people who made the weekend what it was. We estimate around 3,000 people passed through the area each day, creating a constant flow of energy around the stage. Whether someone watched for five minutes or stayed for an entire afternoon, they became part of the experience.

Saturday's Brown Excellence takeover provided a brilliant close to the day, bringing fresh energy to the square and creating an atmosphere that kept audiences gathering, connecting and celebrating into the evening. Watching the square remain full of energy into the evening was a reminder of how important these shared public spaces and experiences can be.

Sunday was a particular highlight. Performances from Bristol Capoeira, Tit for Tat, Mundi Dance and Kings Dance Company brought Queen Square to life, while first-time hosts Aisha Sanyang-Meek and Deepraj Singh guided audiences through the day with humour and enthusiasm.

Events like Harbour Festival create opportunities for artists to share their work with new audiences, for communities to see themselves reflected on stage, and for people to experience culture in a way that feels open and accessible.

A special thank you goes to Sidcot School for sponsoring the Tidal Stage and helping us bring a packed weekend of dance and community performance to Queen Square.

Photos: Alastair Brookes, Elliot Hingston