Trinity believes that the best art is created and experienced by the 67 million voices that make up UK society today. This is why we support and nurture creative communities, creating opportunities for artists and communities to co-create and experience culture together.

"I can't tell you how much we enjoyed it. It was perfectly pitched for this age group. This is exactly what we need more of” - Head Teacher from school’s audience group

Collaborating with communities

In March 2021 we launched an ambitious community arts project, 'What I Want To Be, What I Want To See' that asked communities to share their hopes and dreams for the future, post-pandemic. From this initial idea we commissioned community arts practitioner Michelle Roche to collaborate Newton Network and the local community to programme a series of ‘creative happenings’.

Throughout 2021 Michelle, Newtown Network and local residents created a programme of activities including a weekly 'coffee morning and lantern making' session that culminated with a mid-winter Dolphin Parade. Residents also took part in a series of collective actions – a community painting day and a public playlist of their favourite songs – sharing the unique identity of this vibrant corner of Bristol.

Creating opportunities for children and families to access and shape culture

Spilt Ink Theatre Company was awarded the Young Audiences Commission, which was introduced following a consultation, to offer more young people and family activities. Through our on-going partnership with local school St Nicholas of Tolentine, the company delivered a series of workshops collaborating with over 60 children to devise a new work, ‘Home’ that culminated in a public sharing in May 2021.

Trinity joined forces with Take a Part and Hannah Moore primary school to deliver 'Art Club', a project for children and their families to explore what culture they enjoy and what issues matter to them. Art Club took place for 12 weeks after school and included group trips to visit organisations such as Spike Island and The Bristol Museum, meeting staff and volunteers and having an opportunity to ask questions and see behind the scenes of some of the biggest cultural venues in the city. We will also be hosting a pop-up exhibition of artworks created by children and families who took part in the project.

Supporting the development and sharing of new and exciting work

In the summer we welcomed a range of performances in our pop-up outdoor venue, in the community garden and, for the first-time since Mar 2020, inside the building. This included a Trinity ‘take-over’ by associate artist Roxana Vilk, The Vilk Collective and immersive tech-artists Squid Ink with their 'Lullabies Celebration' celebrating the culmination of Roxana’s Lullabies project. The project collected and responded to songs from the many languages spoken in Bristol and beyond. Roxana is continuing to develop her creative practise including performing at St Georges Hall and through her residency at Watershed’s PM Studio.

Through micro-commissions and subsidised space we continued to support the creation and development of new work, including Houston Dance Company who devised Like Mercury in the Fyfe Hall. The show was selected to be programmed as part of the spring season of theatre and dance in 2022 and premiered to sell-out audiences. The show explored gender, sexuality and identity and positive feedback from audiences included people commenting that the show ‘taught me to embody and celebrate my sexuality’. The company will be touring the performance in the UK throughout 2022.

Many of the events this summer will take place in the community garden. Photo credit Alastair Brookes

Check out our free and affordable activities to take part in as part of our Summer programme of activity.

Meet the Unicorn

Head down to Trinity and uncover a mystical unicorn as part of this yrs city-wide arts trail that is raising money for Leukaemia Care, the UK's leading leukaemia charity. Trinity’s unicorn, named 'Silence Provokes', has been painted by Bristol-based artist Emma Blake-Morsi. People can visit the Unicorn during opening hours (9am-5pm Monday - Friday) and most weekends. However, as Trinity is an active community space, we do apologise but access may be restricted to the site during day parties or wedding.

Explore Somali Culture

As part of Playable City we are hosting 'The House Of Weaving Songs' (07 July-09 July) an outdoor interactive artistic installation celebrating Somali culture featuring 360 audio and tapestry.  Click here to find out more.

Nature and Play

Throughout the Summer we are teaming up with Central Bristol Children's centre for 'Stay and Play' for 0yrs-11yrs (and their grown ups). These sessions, on Friday's, will offer nature and play activities - for free. We will be also running a cafe where you can buy hot drinks and healthy snacks. Click here to find out more.

Family Theatre and Picnics

Following the success of The Ash the Oak and the Standing Stones early this year we have again teamed up with Tidel Tales Collective to bring another magical show The Hare, the Moon and the River Picnic Series (18 Aug). Come along - and bring a picnic.

Arts Workshops

We've got a selection of community-focused arts workshops running at Trinity throughout the summer.

During July and August Newtown residents are invited to take part in free community painting sessions where you can take part in a mandala painting activity. Hosted by Brick Project CIC the sessions will run between 5:00pm-7:00pm - the meeting point is located just across the Clarence Road, which is next to the Trinity Centre.

Starting on 17 July we have Creative Wellbeing Workshops at Trinity, delivered in partnership with Age UK Bristol and Alive Activities. Take part in free in art, crafts, and activities as well as learning ways to look after your wellbeing, while exploring ways to unwind and relax. These drop in sessions are open to everyone. Age UK and Alive Activities would particularly like to welcome Refugees and Asylum Seekers aged 50+, as well as locals living close to the Trinity Centre

On 21 July we will have an Artwork Design Workshop with artist Molly Mural. This is a creative workshop and help design a new public artwork for Stapleton Road, drawing inspiration from local culture, history, and community values you will be able to use various techniques. Click here to sign up.

Community Cafes

Starting on Weds 19 July we are inviting our key community partners to 'take over' The Den and Garden for the afternoon. We will be welcoming key community partners such as Newtown Network to host activities and celebrate the work that they do. We will provide free hot and cold drinks as well as healthy snacks.

Day Parties & Weddings

During the summer months (July-Sep) we will be hosting full-site Days parties. These are for 14+ (under 16's must be accompanied by an adult). This includes veteran soundsystem Downbeat Melody (16 July) and Booty Bass x RepresentAsian (29 July) - tickets start at £5.

Image Credit: Alastair Brookes

We’ve had an amazing summer of music, arts and community events at Trinity and we wanted to take a moment to reflect on some of the amazing things that have happened at Trinity over the last few months.

Garden Party

On May 14, 2023, Trinity Garden Party welcomed the community to our annual, free event featuring live music, arts, workshops, and performances.

The Den, our outdoor stage, showcased a diverse lineup of talented artists from Bristol and the South West. From Laimu's soulful jazz, Ben Baddoo's Ghanaian percussion, and Magugu's Nigerian rap set the musical tone, we had an amazing range of musical talent on display. The day concluded with an energetic performance from jungle legends Ruffneck Ting duo Dazee and Jakes. Upstairs in Fyfe Hall, local poets, comedians, and spoken word artists entertained, including familiar faces and new local talent.

Workshops throughout the day offered diverse experiences for attendees of all ages. Movema's Dance Workshop ignited the Main Hall, while DMAC's Drumming and Storytelling circle was a hit. Crafts, garden activities, and a Recycle City workshop engaged children and the local community.

With over 2,200 attendees and £3000 in donations, your generosity enables us to host more community events like Garden Party in the future.

Movema

We continued our partnership with award-winning Dance company Movema throughout the summer, delivering a programme of Dance and Movement-based workshops with two Hannah More and St Nicholas of Tolentine Primary Schools.

This summer we celebrated the end of the project with a series of weekly after school Carnival Dance workshops. Held at Trinity, children and their parent/carers, along with Movema, created their own carnival procession that celebrated and took inspiration from the rich cultures and heritages of the group.

Day Parties

Day Parties in our outdoor venue, The Den, continued throughout the summer. We hosted a range of in-house day parties, including a Booty Bass x RepresentAsian takeover, as well as fan-favourites Teachings in Dub ran their first ever day party at Trinity in August. Rave on Avon, a multi-venue festival around Bristol, found it's new home on Old Market this year, and we were lucky enough to host the main stage at Trinity.

House of Weaving Song

As part of Bristol’s Playable Cities project, we hosted The House of Weaving Songs in Trinity’s Community Garden, an outdoor interactive artistic installation celebrating Somali culture. The House of Weaving Songs was created by dhaqan collective, a Somali Feminist art collective led by Ayan Cilmi and Fozia Ismail. The installation featured traditional Somali tapestries that when touched ignited the stories and musicality of Somali women’s weaving songs.

We've got loads of amazing events lined up for autumn and winter at Trinity, click here to see what's on.

Movema Schools Workshops - Image Credit: Ted Stargatt

As part of our children and young people’s programme we are working with Bristol-based dance company, Movema to deliver a year long activity of dance in local schools and at Trinity.

“It's been incredible to see individuals participate and have a positive attitude” - Teacher feedback

For the first part of the project, delivered in the autumn/winter term, Movema connected with Hannah More, St Nicolas of Tolentine and Evergreen primary schools to deliver their ‘World in a Box’ dance programme. Children who attend these schools have higher levels of protected characteristics including Special Educational Needs and Disability (SEND).

In collaboration with teachers, the company identified children whose access to the arts may be limited by opportunity to take part in weekly workshops at their school. Across eight weeks, 174 children aged 5yrs-10yrs took part in the programme which included workshops exploring Indian, Caribbean and African dance, games and confidence-building activities and elements of arts and crafts.

The workshops had a positive impact on the children who took part; 80% of the children taking part said they had learned more about different cultures, 73% agreed they had learned new dance skills and 86% said they now wanted to do more dance as a result of taking part in the programme.

During the next stage of the programme in the winter and spring terms, children will be invited to take part in World Dance workshops during school holidays which will culminate in sharing what they've learned with their families and friends. Following this,  Carnival Dance Workshops will take place at Trinity. In these workshops, children will have the opportunity to celebrate celebrate St. Pauls Carnival.

Click here to read the announcement of our partnership with Movema.

Trinity's Garden Party. Credit: Alistair Brookes

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

The initiative - Roots of Resilience - calls for urgent measures to safeguard and improve Bristol’s shared spaces, which are currently under threat due to various challenges, including legislation facilitating council property sales to address budget shortfalls.

“Unfortunately, without changes to how decisions are made about community infrastructure, the future of those spaces will always be at risk. The suggestions we are putting forward will enable us to secure a brighter future for our much-loved community spaces" Steve Sayers, CEO of Windmill Hill City Farm

In a published manifesto we join others in calling for several changes to ensure community buildings are appropriately valued. This includes:

• Review the Community Asset Transfer (CAT) process, to enable more community organisations to consider this route.
• Adopt a target and strategy for increasing the number of community owned assets, in line with the One City Plan.
• Delegate leadership for community assets to a member of cabinet or committee, recognizing the sector’s role across council departments.
• Delegate authority to officer level to award CAT leases, for 95 years, when these are up for renewal.
• Include representation from Neighbourhoods and Committees in the CAT decision-making committees.
• Create a framework for protection and disposal of council owned assets, including creating a new ‘community’ asset class which prioritises preservation of community spaces.
• Implement a fair rent structure which recognises the social and investment benefits of community-owned assets.
• Develop a capital investment strategy for organisations with CAT leases

Read the full manifesto here

How you can help

• Decisions makers, city and business leaders are invited to talk to us directly, understand more about the work we do and see how these changes could enable us to make a much greater impact across the whole city.
• People of Bristol are invited to share their thoughts and feelings on what their local community space means to them, by writing on a ribbon or sharing a word, sentence or memory on social media using the hashtag #CommunityRoots.

The Community Anchor Organisations (CAOs) who created the campaign and manifesto are:

• Eastside Community Trust
• Trinity Community Arts
• Windmill Hill City Farm
• Black South West Network (The Coach House)
• Lockleaze Neighbourhood Trust
• Knowle West Health Park
• Knowle West Alliance
• Southmead Development Trust
• Redcatch Community Garden Limited
• Ambition Lawrence Weston
• Bricks/St Anne’s House
• Artspace Lifespace
• St Werburghs Community Centre
• Filwood Community Centre
• Voscur
• Learning Partnership West

Expect the usual great tunes, great company and a chance to see all your friends or make lots of new ones. Some of our members come for a while – some stay the whole night.

Music will come from DJs (Will, David, A-J) who are here to get you on the dance floor. You can let one of the Misfits Team on the day if you have a special music request. There is plenty of space to sit back and watch if you prefer and the bar will be open all evening (18+, ID required for buying drinks).

There is some parking on site, you just need to pay at the car park machine or via the Ringo app for how many hours you stay. If the car park is full, you can also park on nearby street parking.

We can’t wait to see you there.

The Misfit’s Guide to a Good Night Out

Travel Safely:

• Make sure someone knows where you are going and when you expect to be back.

• If you need help booking a taxi let one of the Misfits Staff know.

Know your limits:

• We all love dancing at Rhythm of The Night but it is also good to take a break when you need to.

• Keep yourself safe by not drinking more than you can manage.

Enjoy yourself and allow others to enjoy themselves too:

• We all have the right to have a good time. If you don’t feel comfortable because of someone else’s actions let the Misfits Team or Venue Staff know and we can help.

• Keep an eye out on other people you are with. If we all look out for each other, we can all have a good time.

• Respect each other's space and give each other room.

In 1992 Trinity was reopened by the New Trinity Community Association.

The new tenants and a dedicated team of volunteers began a second round of development and renovations, which included the installation of the sprung wooden floor downstairs.

Paul Stephenson - Image Credit: Khali Ackford

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

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

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

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

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

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

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

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

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

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

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

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

Tribute written by Dr Edson Burton

Trinity's Annual AGM, one of the many events in which we share data with stakeholders

At the start of 2023, Trinity  was awarded a Maker and Maintainers grant from Power to Change, which kicked started a transformative journey in our open-source development.

"For me Community Tech is all about tech that is led by our organisation as opposed to tech that leads our organisation" Sarah Bentley

This blog post, by Development and Communications Manager, Sarah Bentley, reflects on the lessons learnt and the evolution of our approach to Community Tech and Free and Open Source Software (FOSS).

Vision for Community Tech and FOSS: Our vision was to use FOSS to enable efficient data management and reporting. We collect data across a wide-range systems and platforms, from ticket updates to promoter reports, audience numbers for annual reports, to impact statistics. Our goal was not only to streamline our own processes but also to create accessible tech solutions for grassroots and smaller organisations.

Open Working and Transparency: As part of the grant, I participated in an Open Working course, this emphasised the importance of transparency in our steps and work. This approach complemented our existing Working Group model and allowed us to communicate our vision for Community Tech and FOSS both internally and externally.

Time for Reflection: The grant provided a valuable opportunity for introspection. In my multifaceted role, which I describe as 'money in and stories out,' I rarely have the chance to consider the bigger picture. As a Maker and Maintainer, I delved into how Community Tech and our Tech Makers project aligned with our broader initiatives, specifically how we can communicate why we choose FOSS over over 'off-the-shelf systems' or platforms like Google Forms.

Engagement with FOSS Community: Dedicated time with the FOSS community revealed that our efforts with CIVICRM hadn't gone unnoticed. People shared our interest in building solutions through CIVI, leading us to support a research project within CIVI on real-time data reporting. Engagements included community meet-ups, connections with charity/grassroots communities, and presentations at institutions like Bristol University.

Democratising Data: In my role as the data processor and visualiser, I realised the significance of empowering communities with data ownership. Sharing our processes resonated with others contemplating similar approaches. The focus shifted towards making data more democratic, placing power in the hands of the people rather than businesses' with differing values.

Our tech journey continues to evolve and we will keep updating our findings via blogs and social media.  Read more about how we are engaging in community tech solutions:

• Reflections on a year of 'Open Working'
• Understory Mapping'.

Designs were produced by Architect Daniel Pacaud, which at the time caused great controversy with the Church Commissioners Advisory Board for Redundant Churches, who felt that the proposed works compromise the architectural heritage of the space.

The Church was at the time considered to be one of the finest examples of the work of Architect Thomas Rickman, who built the church between 1829-1932 with Henry Hutchinson.

Pacaud's plans for conversion, involved the installation of a dividing floor. But, despite the Church Commissioners' discontent, the build project went ahead.

The images found show this development in full flow and include pictures of a visit by politicians - including a rather young looking Kenneth Clarke - to see first hand the "Community Initiative" in progress.

Works included:

• Installing the first floor and sprung wooden floor on the ground level
• Repairing many of the windows which had been smashed over the years
• Cleaning the exterior sandstone, using a sandblasting method, to remove graffiti and pollution dirt

However, the costly process meant that many of the works proposed by Pacaud - particularly the developments of the upstairs hall spaces - were eventually abandoned.

Today, Trinity continues to renovate and develop the space to try to avoid any further compromising of the interior and realise this original vision to make a multi-functional community hub.

"Although the very fine interior of this church would be ruined by the proposals as the building now belonged to the local authority Board members felt that it would be a waste of time to try and say it by fighting a rearguard action. It was RESOLVED: That the Church Commissioners be informed that the Advisory Board regards the church of Holy Trinity, Bristol, Diocese of Bristol, as a building of considerable architectural and historic interest with a fine interior that would be entirely compromised by the present proposals for conversion to a community centre" - Church Commissioners Advisory Board for Redundant Churches, June 1987.

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

Reclaiming the Narrative: NGAIO and Goddess

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

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

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

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

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

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

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

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

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

About NGAIO

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

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

Check out NGAIO’s website or socials @ngaioamusic

Videographer - Charlotte Sawyer

Photographer - Charley Williams

Interested in finding out more?

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

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

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

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

Reclaiming the Narrative: Mya Fraser and Justice

Justice

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

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

About Mya Fraser

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

Follow Mya on Instagram

Interested in finding out more?

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

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

Amy Hutchings, with the support of Anna Haydock-Wilson, created a bespoke artwork for Jacobs Wells as part of the Fundsurfer appeal. Photo: Alastair Brookes

Thank you Bristol - we wouldn't have achieved this milestone without you!

Jacobs Wells – formerly known as Bristol Community Dance Centre in Hotwells – is one step closer to being revived in 2025 following a £1,050,000 grant from The Department for Levelling Up, Housing and Communities’ (DLUHC) Community Ownership Fund. The investment will help to deliver plans developed in response to a community campaign to transform the derelict space into a vibrant community arts hub.

Since the start of 2023, the race has been on to save the Grade II listed building following news that Bristol City Council had listed the asset for disposal. Backed by community stakeholders including Hotwells & Cliftonwood Community Association, artists and local councillors, we set out on a mission to raise the funds needed to repair and restore the building.

"This is another massive step in a hugely ambitious recovery effort and the Trinity Board would like to extend our huge thanks to DLUHC, match funders and supporters for sharing our vision." Trinity Trustee Dr Fidel Meraz

This latest investment builds on Bristol City Council's 35-year Community Asset Transfer offer to Trinity and ongoing survey work funded by Nisbet Trust and match funders to assess and scope the repairs scheme and undertake emergency measures to stop further damage.

The grant from DLUHC matches over £400,000 pledged in support of the project from local funders Nisbet Trust, John James Foundation and match funders including individuals who have been donating to an online Fundsurfer appeal.

The journey so far...

The Grade II Listed building has sat dormant since 2018 and faced an uncertain future at the start of 2023 when plans to reinstate it as a pool fell through. A petition was launched to save the building by the Hotwells & Cliftonwood Community Association, with the help of Trinity and it was subsequently listed as ‘At Risk’ by SAVE Britain’s Heritage due to its dilapidated condition.

We are actively progressing detailed surveys to the fabric of the building to assess the building’s condition and viability; this includes essential surveys to scope and cost works to inform decision making and capital-works. Subject to these, Trinity’s vision is to secure an estimated £4 million for a two-phased capital project and bring the building back into use in 2025 as a home for dance and community activity. See more about our plans, here.

Trinity Trustee, Dr Fidel Meraz who has been working with staff and community supporters to drive the appeal said:

"We want to take this opportunity to share a heartfelt thank you to all who contributed to the mission so far. From the encouraging letters from residents to the dedicated volunteers who generously shared their time to help campaign to restore the building, your support has been invaluable. We wouldn't have achieved this milestone without each one of you."

Dan Norris, Metro Mayor who recently visited Jacobs Wells for a behind-the-scenes tour said:

“Jacobs Wells Baths is full of potential, and I know many local people are really behind getting this building restored and opened again for the benefit of the community. I’m delighted that the hard work of Trinity Community Arts has paid off to secure this cash.

"As I’ve seen when I looked around, there’s a lot to do to before Hotwells residents can enjoy this facility again, but the potential is amazing. This is another important step on the journey.”

“Each step in this journey paves the way for the next and this latest grant from DLUHC brings us ever closer to building's revival. Its success is still very much dependent on your support - we invite you to join us and show you care by giving to our Fundsurfer". Emma Harvey, CEO

Councillor Craig Cheney, Deputy Mayor for Finance, Governance, Performance, and Culture, Bristol City Council said of the news:

“It was brilliant to see the new artwork at Jacobs Wells Baths last month, after we awarded a 35-year Community Asset Transfer lease in July to bring the Grade II listed site back to life.

"Congratulations to everyone at Trinity for securing this major £1 million investment in Jacobs Wells Baths. We hope that it will be a giant leap on the journey to delivering a thriving community arts hub.”

Our CEO Emma Harvey said:

“The success of a project like this is less about one thing and more about overcoming a series of interconnected challenges - from addressing immediate liabilities and securing funding to galvanising support from local stakeholders, alongside showing that the building has a long-term, viable future.

“Each step in this journey paves the way for the next and this latest grant from DLUHC brings us ever closer to building's revival. Its success is still very much dependent on your support - we invite you to join us and show you care by giving to our Fundsurfer".

Read more about the Community Ownership Fund here.

Click play to watch Stokes Croft Lands Trust's campaign video

As part of our continued commitment to advocating for shared community and cultural spaces, we have pledged £1,000 to become a shareholder in the Stokes Croft Land Trust, matching the pledges of grassroots arts groups, The Invisible Circus and Artspace Lifespace.

“PRSC is a contemporary example of radical art in Bristol that represents the themes we’re exploring in our heritage project. Though this pledge, we hope to strengthen our ability more closely with PRSC and create shared outcomes for communities in relation to the art of resistance theme.” Rhiannon Jones, Programme Director

In early 2022, Trinity published the ‘100 Beacons’ report: A Community Canvas - building the case for community infrastructure, to shine a light on the importance of – and understand the risks posed to – Bristol's community and cultural assets. This report identified sustained underinvestment in civic assets coupled with the city’s rapid regeneration, poses a risk to Bristol’s unique identity that has led to it regularly topping the list of the "best places to live in Britain."

Bristol is a city renowned for its cultural offer and its activist spirit. However, parts of the city such as Stokes Croft that have historically shaped this identity have seen a huge growth in private development, which has already impacted on the cultural offer of this locality, with artists leaving Hamilton House in 2018, due to increased rents.

In response to this, the Stokes Croft Land Trust (SCLT) has been created to purchase 17-25 Jamaica St, Stokes Croft, which is home to the People’s Republic of Stokes Croft HQ (PRSC), in order to protect one of the area’s remaining cultural landmarks. Through a community shares offer, members of the community and like-minded organisations are able to come together to help ensure the building stays in the hands and ownership of artists, protecting its use for the benefit of the community. This is a model much like the Cube Cinema, which secured its building back in 2012 through community fundraising.

“Stokes Croft is a significant artistic destination in Bristol. With the scale of redevelopment happening and in the interests of social welfare, Trinity wants to help ensure our city’s cultural spirit and radical identity is nurtured. We’re working with the PRSC team to celebrate Bristol’s history of art in protest and we want to pledge our support for the Stokes Croft Land Trust so future generations of misfits have a space to call home.” Emma Harvey, CEO, Trinity Community Arts.

The Fundsurfer set up to help the SCLT purchase its first building and bring it into community ownership is already over 50% of the way towards their minimum target of £272,000.

Trinity’s commitment also supports our current work to document and celebrate 100 years of art and activism in Bristol through the National Lottery Heritage funded project, Art of Resistance.

Click here to pledge your support to Stokes Croft Land Trust today