Artist and performer, Scottee makes work about things that they really care about, we programmed their show Fat Blokes as part of IGNiTE Spring 2019.

Scottee makes work with non-professionals artists (in Fat Blokes the four dancers had ‘never done this kind of thing before’), exploring issues about personal experiences that have a common theme. His work is about encouraging ‘safe spaces’ for new work to be created – ensuring new voices get heard.

Before the show Scottee ran an afternoon session ‘Making Stuff About Stuff’ - a workshop designed to address the things that make us angry in the world. Aspiring actor and Bristol resident Maya went along to find out what a workshop with Scottee was like for a young person starting out.

Scottee (second from LHS) leading 'Making Stuff About Stuff' photo @Alexa Ledecky

“I found out about this workshop and the shows taking place through Roseanna, the Assistant Producer at Trinity, and wanted to take part to develop my confidence and learn new skills.Before attending this workshop I had no expectations of what was going to happen or exactly what I was going to get out of it but I saw it as a new opportunity to get closer to where I want to be as a performer/actor.

"One thing I liked about the workshop was there was no pressure to share anything we didn’t want to and there were no right or wrong answers."

When I arrived into the room, chairs were set out in a circle at one side of the room where we all sat. The workshop began and Scottee introduced himself and what he identifies as, and then everyone in the circle went round and introduced themselves, what they identify as and where they want to be. We were told that there should be no expectations set and we are not here to learn anything.

Scottee asked us to each take a piece of paper and pen. We folded the piece of paper into a leaflet style and on one side, those who wanted to, wrote down all their identities and how others see them. If we wanted to we could then discuss them and people got the opportunity to ask questions on any specific identities we were unsure of, had questions about or found interesting. I decided to share my list with the group.

We then went to another side of the paper and wrote all the things that made us angry. After mentioning the things that made us angry we then wrote down a rant about this particular thing which we hated. I wrote about racism and my rant was against those who are racist or who don’t see racism as a serious issue. At first some of us struggled, finding it difficult to rant about something when we were not in an angry mood. For others it was an opportunity to get the issue off their chests. There was a mixture of very individual issues and those that affect lots of people. Scottee encouraged us to read over it and add more details into the rant.

The group shared their 'rants' about the things that made them cross photo @Alexa Ledecky

We came to a final decision about whether we wanted to throw it away or keep it. If we threw it away, it was like we were done with the issue, and if we kept it then that may have meant there was still more to write, discuss or work on.

One thing I liked about the workshop was there was no pressure to share anything we didn’t want to and there were no right or wrong answers. Everyone showed signs of being comfortable in the group through their body language and the conversations we had. People opened up about their identities and personal issues. It was a relaxed intimate environment without anyone being in your face.

This workshop helped me personally because I was able to think of how I identify myself and how others identify themselves - my confidence in having discussions and sharing things with others has definitely increased."

Scottee’s workshop was a great opportunity for anyone working in performance, particularly socially driven work, to learn techniques around developing work.

Want to take part? We have more workshops coming up as part of our IGNiTE Spring season.

On 10 March, learn Bharatanatyam dance with Shane Shambhu ahead of his for dance/comedy show Confessions of a Cockney Temple Dancer. 16 March learn voguing and house styles at a pre show workshop then join the party crew for dance experience Rent Party and, finally on 23 March join dance artist Toussaint To Move for a workshop about his creative process ahead of his show about migration Windows of Displacement.

Making Stuff About Stuff was presented as part of IGNiTE - our programme of world-class, innovative theatre and dance about issues that matter to people now, starting conversations and sparking debate. IGNiTE is supported using public funding by Bristol City Council and by the National Lottery through Arts Council England

Volunteers help plant seedlings in 2018

Trinity has received funding from the Postcode Local Trust to help make our Community Garden accessible to all.

The grant will match-fund a generous donation from Amelia Bax so we can install raised planters, potting tables, an accessible compost toilet, levelled pathways around the garden and a water-pipe to make regular tasks easier for everyone.We shall be looking forward to embarking on improvements to the garden this Spring!

Our IGNiTE residencies are an opportunity for artists or companies to develop  a new piece of work at Trinity. In the 2018 / 2019 cohort we welcomed Ania Varez (you can read two blog posts about her project here and here); Roxana Vilk, Viki Hearne and Viki Browne. All artists receive space, resources and support to develop their project.

Viki Brown during her Hyper Fem sharing (photo credit @ Khali Ackford)

Viki shared her work: Hyper Fem in early January 2019 at Trinity. Hyper Fem asks whether the performance of femininity through Drag can be as powerful, political or subversive when performed on a female identifying body. It is strongly inspired by some of her recent previous projects which involved epic wigs and performing as a ‘make up girl in a tiny dress’.

Many people came along to Viki's sharing, including Trinity staff (photo @Khali Ackford)

The IGNiTE team attended alongside Trinity staff, industry professionals and members of Many Minds the Bristol based arts and mental health charity that Viki is a co-director of. A sharing is the opportunity for an artist to receive feedback on their work in progress and to develop the piece further. For audiences it is an opportunity to 'contextualize the artist’s vision'.

“I work alongside resident artists helping with admin and logistics. Often we talk about road blocks they are facing and their '’break though moments'’. Because of this when I'm given the opportunity to see sharing's I jump at the chance. It gives me the opportunity to push my boundaries and offer perspective that may not come from the artist’s typical audience. ” - Ripley, Admin Assistant

Viki interacts with the audience after her sharing of 'Hyper Fem' (photo @Khali Ackford)

Looking back on her residency Viki says: "Developing ‘Hyper Fem’ at Trinity has been an incredible opportunity for me. I find the building, its history and its placement in the city truly inspiring. It's political past and its dedication to the multiple communities who use the space have challenged me to think and dream bigger than ever before. I felt safe, supported and welcome in the building which after two weeks of working there started to feel like a second home. We are now excited to begin the next phase of the project: finding partners and commissioners to work with on the show!”

In March and April welcome Roxana Vilk whose residency will focus on the lullabies families cross Bristol sing to their children.

Trinity is the perfect space for your alternative, grass-roots, DIY wedding. With our central location, affordable packages a choice of indoors and our lush green garden  – you can celebrate your special day in one location.

Clare and Dave booked Trinity for their wedding, here they walk down the aisle in Fyfe Hall (image courtesy of Clare and Dave).

Host your ceremony in the beautiful Fyfe Hall with breathtaking stained-glass windows; transform the main hall with your own vision into a decorated banqueting area;  make the most of the iconic backdrop for photos in-front of the recently restored Grade II* listed former church, The Trinity Centre.

Abi and Jack celebrate their marriage in Trinity's large outdoor garden (image courtesy of Abi and Jack).

Book before 28 Feb 2019 to save 10% off 2019 Wedding packages – there are only a few remaining dates available in 2019 so be quick as once they are gone they are gone – to find out more and to arrange a viewing get in touch with us on 0117 935 1200 or email us at info@trinitybristol.org.uk

Volunteers sort through clothes in the Graffiti Room. Photo @Khali Ackford

A big thanks to everyone for their support during the Caring at Christmas day shelter at Trinity.

Across the project a total of 2307 hot meals and 2400 sandwiches where served to around 100 guests a day in the Day Centre at Trinity. We have been really delighted to team up and with Caring at Christmas for this much needed ambitious project,  during the crucial Christmas period when provisions become scarce in Bristol for those experiencing homelessness.

Thank you everyone for helping to make it happen!

Regular Trinity users donated Christmas trees to decorate the main hall. Photo @Khali Ackford

Trinity became a day shelter with support, food and social activities. Photo @Khali Ackford

Dinner awaits. Photo @Khali Ackford

Caring in Bristol team members outside Trinity. Photo @Khali Ackford

Culture Vultures get ready – 24 hr Flash Sale starts tomorrow (17 Jan 2019, 10am)

Save money with thousands of discounted tickets and offers in the Bristol and Bath 24-hour culture flash sale from 10 am tomorrow (Thursday 17 January).

Windows of Displacement (23 March) explores Issues surrounding migration, home, borders and identity - some of the biggest questions of our time. Photo credit @Ashley Karrell

From music, theatre, art and museum exhibitions to Planetarium shows and theatre classes, there are deals galore. Take a punt on something new, grab a bargain and kick off your year with a barrow-load of amazing culture. This is the 10th edition of the Culture Flash Sale, which this time sees over 20 organisations from across Bristol and Bath offer culture fans amazing discounts and deals to help beat the January blues.

Save 20% on Benjamin Zephaniah (16 May) tickets during the flash sale

Grab yourself 20% off selected IGNiTE and live music shows by using the code: FLASH20 at the check out - there is only a limited number of tickets available at this very special Flash Sale discount so do-not miss out!

TECH N9NE 2 Feb 7:00 PM

Slum Village (LIVE) X Abstract Orchestra 7 Feb 7:00 PM

Fat Blokes – Scottee 20 Feb 7:30 PM

Confessions of a Cockney Temple Dancer - Shane Shambhu Sun 10 March 7:30 PM

Windows of Displacement - Toussaint To Move 23 March 7:30 PM

Benjamin Zephaniah & The Revolutionary Minds Thu 16 May 7:00 PM

Don't forget to use the code FLASH20 at the checkout to get 20% of these selected shows

Other highlights from the sale include 20% off selected tickets at Bristol Old Vic (link will be live at 10am 17 Jan) , discounted tickets to SS Great Britain's Late Nights and 50% of selected gigs at Lakota (use code 50OFF).

Our Spring 2019 season of theatre and dance presents innovative artists who speak from the heart and ask: How do we strip away the layers of expectation placed on us by society to find the truest version of ourselves?

Celebrate flab, double chins and getting semi-naked in Scottee’s Fat Blokes (22 Feb). Laugh at the hilarious Confessions of a Cockney Temple Dancer, Shane Shambhu's biographical story of cultural fusion and clashes in an East London playground (10 March). Join Darren Pritchard Dance, their artist friends – dancers, singers, musicians and poets in the 1920’s Harlem Renaissance Inspired: Rent Party (16 Mar). Then, explore issues around migration in Toussaint To Move’s autobiographically sourced Windows of Displacement (23 March) where the shifting (and increasingly urgent) politics surrounding the movement of people takes centre-stage.

Explore issues around migration in Toussaint To Move’s autobiographically sourced Windows of Displacement (23 March)

Rent Party (16 Mar): a kaleidoscopic picture of what it means today to be young, gifted, and black – and poor, and gay.

From post-show talk backs (Fat Blokes 22 Feb, Windows of Displacement 23 March) to workshops (Making Stuff About Stuff, Scottee; Creative Dance with Akeim Toussaint Buck; Contemporary Dance workshop with Shane Shambu) there are plenty of ways to stand up and get involved in the season.

Sign up to: Contemporary Dance workshop with Shane Shambu, 10 March, £5

All IGNiTE tickets are £11 / £9 concs (including booking fee) and workshops of £5 (including booking fee). Communities who use Trinity regularly could benefit from subsided tickets, please email marketing officer sarahb@3ca.org.uk to find out more.

Get involved with IGNiTE

Volunteering - from stewarding to photography there are many ways to get involved in IGNiTE. Find out more about the opportunities on offer here.

Test audiences - help shape the work artists and companies create by signing up to be part of an IGNiTE test audience.

Residencies - find out more about our IGNiTE artists in residence here.

KOAN Sound are part of the 100+ line up across the city during the FightBack Bristol Festival. They play Trinity 14 Feb & 16 Feb (sold out)

Trinity joins 14 other venues this February (4-18 Feb) for Fightback Bristol – a new campaign headed by the Music Venue Trust that encourages audiences to visit their local grassroots music venue and promote the Bristol’s emerging and existing musical talent.

“These venues are the backbone of the live music scene in Bristol, providing spaces where artists can take their first steps, develop and grow. Fightback Bristol provides an opportunity to showcase the fantastic range of artists and venues that Bristol enjoys, celebrating the history of our music scene and supporting its future." Gary Prosser, Music Venue Trust

Events at Trinity during the festival include:

7 Feb Slum Village

9 Feb – Krank94

14 Feb – KOAN Sound

Plus more to be announced.

We will be selling Fightback Lager , Music Venues Trust’s new project to raise money to help grassroots venues throughout the country, providing venues with an affordable beer that financially helps the whole sector. Find out more about Fightback Bristol and other events across the city here.

Making Tracks Showcase 2018

The Making Tracks Showcase is an opportunity for young people from Trinity, Basement and ACE to  showcase their talents in-front of a live audience. Over the day 21 young people performed to an audience of over 100! Attendees to the event included Adam Devonshire of the band Idles who said of the showcase:

"To see youth projects like this, giving young people the opportunity to learn and grow as musicians, was truly amazing and inspiring. The confidence that comes from being given the tools to create music is immeasurable and projects like this are truly something to cherish. Long may it continue."

To everyone who donated and supported Trinity this year we wanted to say thank you and let you know how your help has impacted on the work we do.

Dancers from Gerry's Attic, a dance group for the over 55's take part in a workshop (photo @ Sarah Koury).

Trinity Community Initiative supported community and voluntary groups with over 4000 hours free and subsidised hall space.

Keisha Thompson delivers a workshop to young people as part of our IGNiTE programme (photo @Khali Ackford).

Over 100 people took part in one of the professional workshops delivered by touring companies and artists programmed as part of our IGNiTE theatre and dance programme. Highlights included students from Making Tracks taking part in a vocal looping workshop with Keisha Thompson and Rise Youth Dance taking part in Uchenna Dance’s workshop.

This year we earned a Bronze Attitude is Everything Award, and secured £5,000 funding from the Hedley Foundation and Bruce Wake Charitable Trust to pay for a mobile accessible lift to enable wheelchair users to access our Main Stage.

Josh attends regular 121 music sessions at Trinity's collaborative music making project (photo @ Alistair Brookes).

Our collaborative music making project Making Tracks provided over 400 music sessions for 101 young people, many of whom (85%) struggle with confidence, behaviour, health, well-being or other challenging personal circumstances.  Making Tracks makes a difference in peoples lives.

We are committed to conserving and protecting the Trinity Centre for ours and future generations (photo Khali Ackford).

With generous donations from the public, an uplift grant from Historic England and support from Heritage Lottery Fund and, other charitable Trusts & Foundations we raised the much needed funds to complete the major repairs to the fabric of the building.

Trinity's annual Festival of Light along with the Garden Party attract over 3k visitors and feature a line up of the best local musical talent (photo @Khali Ackford).

You can read more about the work we do by downloading our annual report here, or you can find out how you can continue to support the work we do here.

We couldn’t do this without your support, thank you.

We wish everyone the best over the festive season.

Xyzelle, Sealvia and Chantaleaze - students from project partners ACE perform at Trinity's Festival of Light. Photo Khali Ackford

1. Playing at the Unity stage at St Pauls Carnival

"The Carnival Stage provided an excellent opportunity for young people to perform at one of the City's most significant and historic cultural events. It was great to have staff and  young people across the Making Tracks programme there on the day." Darren Alexander, ACE.

Josh Carter practices singing in one of our recording studios during the Summer Sessions at Trinity (photo @ Alastair Brookes)

2. Summer Sessions at Trinity

"Trinity's in house annual summer workshop and live performance event. Held over two days in August. Working in partnership with Access Creative College Bristol, who delivered bespoke DJ and Film sound workshops." Dave Thomas, Trinity Community Arts

Making Tracks showcase at Trinity's Festival of Light (photo @ Khali Ackford)

3. Youth Music Showcase at Festival of Light

"The Festival of Light provided our young people with the biggest audience of their music journeys so far. The sound quality was amazing and the experience provided a taste of what a professional performance feels like." Darren Alexander, ACE.

Area of Effect play on the main stage at Trinity's annual Garden Party (photo @ Jesscia Bartolini)

4. Youth Music Stage, Trinity Garden Party

"Area of Effect rock band opening on main stage. Seeing these three 15 year-olds rise to the amazing opportunity of performing their set with hi spec stage and PA  and at such a public event was so exciting. It really upped their expectations and motivation in terms of performance, and it also opened them up to 1:2:1: music development and support." Troy Tanska, Basement Studios

5. End of Year Showcase Party, Trinity

"I was really proud of the range of performances - from those who'd never made music in front of others, to performances good enough to charge for. They were really respectful and supportive of each other - even though there were such varied genres and skills. It was a massive highlight seeing a young person who had such a difficult time in the past, but who turned their life around since being part of Making Tracks in the summer and is now at music college, absolutely smash it centre-stage. Such an honour to see the power of music in action." Troy Tanska, Basement Studios

Trinity has submitted an objection to a proposal to develop 12 new apartments at 90 West Street, Old Market.

Our objection relates to the absence of community consultation in relation to the proposals and that the Noise Impact Statement makes no reference to the development’s proximity to Trinity.

We understand there is a critical need to build new homes in the city and welcome conversations with developers wishing to invest in the area around us. Conversations with existing businesses are a standard part of any planning process and help to inform plans, limit the number of objections to any project and give developments the best chance of success.

We believe people not only need places to live, but also spaces to come together, socialise and celebrate. A development less than 200 yards from an existing live music venue - which has not taken any action to mitigate against noise impact on new tenants - must be challenged.

Trinity is member of newly formed Bristol@Night Board which has been set up to respond to issues affecting the city’s nightlife. We will be working with this board - which also involves Save Bristol Nightlife - in the new year, to ensure as a city we continue to support and protect what makes Bristol a great place to live, work and visit.

If you would like to make your own objection to the proposed development, please visit Bristol’s Planning Portal and make your own objections, or cut and paste the following:

I would like to object to the recently resubmitted planning application reference 18/06186/F (previous reference: 17/04953/F) for the following reason:-

Insufficient Mitigation of Noise for New Dwellings (Agent of Change principle)

The Noise Impact Statement is from Nov 2016 and there have been no revisions of this report since this application was last submitted. The report makes no reference to the fact that the development will be right next to an existing live music venue (est. 1976).

Therefore, no mitigating actions have been taken in relation to its proximity to the Trinity Centre and there is no acknowledgement or awareness of the proposed Agent of Change Principle.

Josh has been attending 121 sessions at Trinity as well as workshops and other events delivered as part of Making Tracks (photo Alastair Brookes - KoLAB Studios).

"I had heard Trinity provided people who have had difficult pasts with good opportunities to develop skills with performing and recording music"

Hi, I am Josh I'm 21 and I come to Trinity weekly to attend 121 music sessions that are part of the Making Tracks Project .

As well as the recording sessions I attend I also have been learning skills in songwriting workshops and other music related events at Trinity.

I came to trinity because music is something that I’ve always been passionate about and I had heard Trinity provided people who have had difficult pasts with good opportunities to develop skills with performing and recording music, I mainly work with Al in the studio and greatly enjoy it.

I’ve struggled with mental health problems all my life and being able to record at Trinity has been a massive help with keeping myself positive and active. Taking part in Trinity has benefited me in more ways than I ever would have imagined, it’s enabled me to be able to write and record my own songs and has helped me develop my skills and confidence as a musician. When I first started attending trinity I was very shy and struggled with depression a lot and the friendly atmosphere provided at trinity has really brought me out of my shell and helped me become the strong confident person I am today.

Without trinity I would never have gotten the chance to make my own music or improve my skills as a musician.

If I had to describe my experience at trinity in three words I’d use “truly amazing experiences".

You helped secure Trinity's past, now play your part in Trinity's future

Architect Tim Ronalds delivers his talk 'Resurrection Man' during our 2018 talk series, delivered as part of our Conservation and Heritage activities (photo credit @Khali Ackford)

We are delighted to announce we have been awarded £1000 by shoppers at Tesco through Tesco;s community Grant scheme, Bags of Help.  Voting ran from September to October and Tesco's shoppers choose which local charity to support by voting with a blue token given to them at the check out.

During 2018 people took part in workshops exploring traditional skills used in the initial building of the centre in the 1800's.These stained glass pieces form part of an indoor visual history trail. (Photo @ Khali Ackford)

The money awarded will help us continue our Conservation works including proceeding with a solar panel and battery storage installation. Thanks to everyone who supported Trinity with their vote!

Ania sharing her work in progress at Trinity (photo @ Alastair Brookes)

A few thoughts about sharing Guayabo at SPILL Festival of performance 2018

"I just didn’t know how it would go until I had this experience"

Ania Varez is one of four Bristol based artists who are developing exciting new work in collaboration with communities at Trinity over six months as part of our IGNiTE theatre and dance programme.

During her residency Ania is developing ‘Guayabo’ a participatory work that invites people to gather around their pain and the pain of others and is heavily influenced by Ania’s move from Venezuela to leave her country’s violent dictatorship. The crisis is rarely mentioned in mainstream media and Ania has been using her art to share her and her family’s experiences with others.

Ania recently took ‘Guaybo’ to Spill Festival, an international festival of contemporary arts and activism in Ipswich. We asked her to tell us the four things she learnt while she was there.

Maybe not all works are meant for art festivals (or maybe they need a bit more help)

Guayabo is a very challenging piece to share for different reasons. Mostly, because it requires placing myself in a very vulnerable state, my family is also exposed through the videos and texts I read, and the topic is extremely painful and difficult on its own.

I was concerned that those who came to experience the work might not have the capacity to offer the mental and emotional investment this piece requires due to the festival environment which is overwhelming with people quickly moving from one performance to another. I also felt the audience needed more time to process the difficult information that Guayabo conveys, whilst in a safe environment, before leaving the room and returning to a conventional social mode.

Towards the end of the work, I invite people to stay in the room for as long as they need and to chat with me if they wish, but since people had to rush to another show, most of them could not have that time, which felt important in terms of caring for themselves and for me. To know this for future sharings is really positive!

I will think about what needs to change inside the work to ensure people receive the care they need. However, the context is also important. I’m sure SPILL would have made a bigger effort to ensure these things happened if I had spoken about them beforehand, but I just didn’t know how it would go until I had this experience. Maybe arts festivals are not the right context for Guayabo, or maybe it just needs some programming adjustments (have more time altogether, organising a meal to share right after, for example) would really help to overcome these difficulties.

Guayabo connects people in the UK with Ania's family in Venezuela

It’s nicer to meet people outside of performance settings

Whilst being at SPILL I slightly regretted not having the time to see other works and meet many people. Sharing this piece took all of my time and energy and I didn’t have the space to experience much more. In hindsight, I notice that I naturally felt more inclined to encounter people outside of the performance settings (at breakfast, or in the artists green room) in a more relaxed and meaningful way, and most of the time we didn’t even talk about our work which I enjoyed much more.

Before arriving to SPILL, I was quite worried that everyone around me would be trying to constantly pitch their work at each other, but I was glad to discover that most people seemed to agree that having a good time and laughing together was more important.

Self care and support kept everything together

I had severe technical difficulties during my first show and right until the beginning of my second show. This uncertainty added pressure to sharing such personal work, which massively compromised my mental health during the performance days.

Having my producer, Katherine Hall, with me during the first two days really kept me safe and capable of getting through the difficulties, as she took care of many things and allowed me to concentrate on the work. Sadly, she could not stay for the last two days and that would have really affected me if it wasn’t for Shabnam Shabazi (the Wellbeing Liaison of the festival) and Manon Santi (part of the SPILL team) who were there to support me. They gave such gentle and caring attention to me and to the work: this meant I could present the work without having a breakdown or feeling like I was delivering it on my own.

It’s not the end of the line

SPILL felt like an incredible opportunity for me as an artist and a person. It’s the biggest platform I have ever shared work on. But I didn’t want it to feel like the ultimate platform, or the culmination of this long process. I wanted it to feel like another island I stumble upon in the middle of this long trip. A place to pass by, gather things that felt valuable, meet great people and then continue on the journey. Almost one month after the festival, I see this opportunity has brought a few open doors, some new friends and a lot of learning. I enjoy holding on to this feeling of continuation, this long process that exists independently of the platforms that I visit, but continues to be nourished by them. I am looking forward to continuing my research at Trinity Centre next year.

Read more about our IGNiTE programme and artist in residence just here.

IGNiTE Artist Ania Varez is developing the performance piece “Guayabo” as part of her residency (photo @ Alastair Brookes)

Ania Varez is a young Venezuelan artist who left her country’s violent dictatorship and moved to the UK. The crisis she escaped is rarely mentioned in mainstream media but Ania has been using art to share her and her family’s experiences with others.

She joined Trinity as an IGNiTE resident artist in September to develop her new show “Guayabo”, or “heartbreak” in Venezuelan slang. In late October, she invited people to join a sharing session in which she presented her work.

Ania's homeland, Venezuela is experiencing a silent humanitarian crisis (photo @ Alastair Brookes)

All the elements that formed part of Ania’s performance painted a sharp nightmarish picture of her city, a place that has lost all of its warmth and safety. It was brilliant to not just watch but to actually actively take part in the interactive performance Ania created as part of her residency with Trinity.

Prior to entering the performance space, we were greeted by Ania and added to a WhatsApp group by her assistant to receive messages and media during the performance. We were then invited to walk into the space – a dark room with two rows of seats lined up to face one other. At one end of the rows; a TV, at the other end; a large lamp, switched off. The only other light source in the room was dim, the atmosphere was heavy.

Only a few minutes in, Ania invited us to lie down on the floor while she told the story of a murdered corpse being found in a park while she and her lover were peacefully laying down on the grass. This was a tipping point in the performance; by involving our bodies in the story-telling, it felt like we were brought incredibly close to Caracas, her home city, and to the terror that reigns there.

People wrote who they loved on apples as part of Ania's grief party (photo @ Alastair Brookes)

From writing the name of our loved ones on an apple, a mundane fruit that is now impossible to find in Venezuela, to joining efforts to smash a piñata, we were all made part of her grief party. The poems she wrote and read and the ongoing TV screening of the footage she gathered during a rare visit to her family were striking and raw. “In this city, laughter feels like a miracle”, “The last second of panic before you close the front door”, “Until there’s a bullet in the back of everyone you know”.

During the Q&A that followed the performance, we were asked if the stories that involved violence were too descriptive and shocking, but were all positive that they gave the show strength and impact.

Guayabo is about creating connections between places where the connections have been broken. (photo @ Alastair Brookes)

One thing felt very clear: “Guayabo” is not a teary-eyed drama seeking the audience’s compassion. It’s an invitation to connect Ania’s isolated family in Caracas and England. An attempt to create a positive link between two places that have been completely disconnected, if only for an hour. The large lamp that stood unlit in the room was set up to switch on if Ania’s mother replied to her WhatsApp message: “Are you safe today?”. We all sat waiting for the lamp to turn on for a solid minute, but it didn’t. Instead, Ania recorded a voice message of all of us clapping and cheering for her mother as a gesture of acknowledgement and support.

The 31st of October marked the 2 year anniversary of Ania hugging her sister for the last time before leaving. She marked the day by performing “Guayabo” at SPILL Festival in Ipswich.

About IGNiTE

IGNiTE is Trinity's in house programme of world-class, innovative theatre and dance about issues that matter to people now, starting conversations and sparking debate. IGNiTE is supported using public funding by the National Lottery through Arts Council England and buy Bristol City Council

We asked the Trinity team what their favourite moments on this heritage project were, and this is what they came up with.

Workers hand carved new stone - even during the snow! Photo@Khali Ackford

#1 Emma Harvey, Centre Director

“It has to be when we did some researching into the last wedding that happened on the 26th March 1976 at Trinity. We managed to find someone whose name matched the couples on social media and decided to direct message them. It was moment of high anxiety to see the icon that they where messaging us back!

Thankfully it was to say that they where still happily married and that they were super happy we had contacted them. Cheers from us to them for 42 years together!”

Our Heart & Soul project took place alongside major repairs to Trinity. Here a participant creates woodcuts, inspired by Trinity's history. Photo@Khali Ackford

#2 Fidel Meraz, Trinity Board Member

“Sharing pizza and drinks during an afternoon with the staff and the stonemasons who were doing most of the the material work on the building, is such a wonderful memory.”

#3&4 Karina Castro, Project Manager

“ I am going to choose two .. if that is allowed … first up has to be 'A Waltz Down Memory Lane' (20 April) - a great afternoon of dancing, cakes and memory sharing attended by over 40 people over 55. This was made even more amazing by having Norma's Groovers back at Trinity entertaining our friends.

Dr McClymont's talk looked at how we repurpose old buildings. Photo@Khali Ackford

Then, Dr Katie McClymont's 'and the spirit lingered on' (19 June) - a really engaging talk that got everybody involved (inc Khali, the photographer!) about how historic buildings, particularly former churches, are now used as sites of secular worship and as community hubs."

Centre Director Emma Harvey shares the floor with TCA founder Matthew Hewitt and long standing DM and former Centre Manager Derreck Sterling. Photo@Khali Ackford

#5 Glyn Everett, Chair of Trustees
“I really enjoyed the talk 'Reconstructing Trinity from Disrepair to Glory' (31 July) - A wonderful conversation around the different moments of history that the Trinity has seen, and all the heartfelt effort that has gone into keeping the building open, safe and working for the communities that surround it."

About Heart & Soul

From January to October 2018 we celebrated Trinity's place at the heart of the community through a programme of accessible heritage activities, workshops and events. The activities took place alongside our most recent capital works to conserve and renovate the building and where funded by Heritage Lottery Fund, Historic England, Bristol City Council and other charitable Trusts & Foundations.

Sunkern Circus perform to crowds to open up our Festival of Light photo @ Khali Ackford

Young people from our Making Tracks project performed at our Annual Festival of Light and, they were great.

Making Tracks is our collaborative music making project with ACE and Basement– giving young people the opportunity to learn new skills in music creation. Trinity offers 121 and small group music sessions alongside industry workshops and opportunities to perform at Trinity events.

Xyzelle, Sealvia and Chantaleaze - students from project partners ACE performed first to a packed room. Photo Khali Ackford

Xyzelle, Sealvia and Chantaleaze from project partners ACE (Aspiration, Creation, Elevation) performed two songs, followed by Trinity student Louis Stone who performed his original songs using both his acoustic and electric guitars.

Great to welcome Trinity student Louis Stone who played tracks he is working on as part of Making Tracks. Photo Khali Ackford

Playing to an energetic and supportive crowd the students performed cracking sets and roused the crowds ready for local dub DJ Dutchie and the ever fantastic Bristol Reggae Orchestra – well done to them.

Dub DJ Dutchie gets the crowd ready for Bristol Reggae Orchestra photo @Khali Ackford

Bit of a squeeze for Bristol Reggae Orchestra on the stage in the main hall! @Khali Ackford

Onj's firework display was a treat for all the family. Photo @ Khali Ackford

This year we welcome over 800 people through the gates who came to watch the aerial performances, the fantastic firework display from Onj, a very warm bonfire from Woodsy, and the live music in our main hall.

Thanks to everyone that makes the event happen, from staff; to volunteers; to artists; to traders and of course all of you who attended.

The Festival of Light is a free event supported in part by public donations. This year we raised over £1100 in donations meaning that we can continue to run events like The Festival of Light so everyone can enjoy.

Vicki Hearne is part of this years cohort of  IGNiTE artists in residence (photo @Megan Ashton)

Alexa Ledecky, our very awesome project assistant on our IGNiTE programme, went along to IGNiTE resident artist Vicki Hearne's sharing of the work she is developing here at Trinity - sharing's are an opportunity for artists to receive feedback about their work.

Read on to find out Alexa's thoughts about 'Practically Perfect'.

Last month, Vicki Hearne and her Untold Dance Theatre fellow female performers brought their work in progress to Trinity for a sharing session. Audience members were invited to attend the performance for free and encouraged to share their feeling and impressions about the ideas that have been developed so far. Vicki has been working on “Practically Perfect” as part of her IGNiTE residency with Trinity since early September.

"Unity definitely shone through the dancers and musicians during the performance."

The show uses dance and theatre to explore how most women are often pushed to mould their body into an idea of perfection that society dictates. As the performance began, the lights dimmed and two musicians sat by the side of the scene set the atmosphere with an acoustic guitar and synth live soundtrack. The dancers entered, carried by the ethereal melody and began to tell us their story. A recurring theme became apparent: the female body being objectified with harsh humour and sarcasm.

Vicki had several solid scenes to present to the audience. To mention a few without giving too much away; robotic Barbie dolls, a restaurant serving perfect female bodies on a platter, a “cooking” class on how to make a flawless woman. All those scenes involved folding, crushing bodies and treating them like objects, quite literally making them submit to society’s vision of perfection. The audience was also very receptive to the challenging subjects tackled and invited Untold Dance Theatre to go deeper and make them feel even more uncomfortable. The exploration of a serious subject did not cut out artistic creativity. Each scene was different and the audience stated it will be interesting to see how the “chaos binds with the more flowy parts” in the final performance. Discussing the overall tone of the show, a viewer pointed out: “There are kitsch moments, but those were so precise and clean. The comedy helps with the more earthy parts”.

Vicki and the cast listened to the audience with poise, eager to use this sharing session to develop “Practically Prefect” further. Some open expectations were expressed: “The rhythm was building into something that was establishing. I would like to see everyone go completely wild at some point”. The viewers repeatedly showed excitement about finding out the answers in the finished piece: “What happens the the reject; are they ‘put right’ or are they ‘celebrated for being imperfect’?”.

A woman concluded the discussion by encouraging to celebrate our imperfections rather than to condemn them: “We don’t have to be whole as an individual, we’re whole as a group”. One thing is for certain - unity definitely shone through the dancers and musicians during the performance.

The sharing of the work took place in Trinity's Ffye Hall (photo @Megan Ashton)

Stay tuned for updates on Vicki Hearne and our three other artist residents here on our website.

IGNiTE is supported using public funding by Bristol City Council and by the National Lottery through Arts Council England

IGNiTE resident Ania Varez describes her practice as 'community-engaging'

I want to give people in England a point of contact with a crisis that is largely undocumented in the UK. Ania Varez

Ania Varez is a Venezuelan artist who trained in classical dance and moved to Bristol in 2015 having graduated from the London Contemporary Dance School, before moved away from performing dance towards more participatory projects that explore issues of migration and loss.

We supported Ania during our 2018 IGNiTE Artists residency programme to develop her project Guayabo (Venezuelan slang for heartbreak). This was a participatory work that invited people to gather around their pain and the pain of others, challenging our ways of acting and caring for one another through geographical distance or cultural differences, as a medium of survival, transformation and belonging.

We really liked Ania's reasons for applying for an IGNiTE residency:

"The experience of leaving my home in the midst of a severe humanitarian crisis and facing the challenges of being an immigrant in the UK, as well as witnessing the current migration crisis worldwide, has strengthened my urgency to develop a practice for these issues to be addressed collectively and creatively, here in England."