Benjamin Zephaniah poses with young people from Making Tracks, Dave Thomas, Trinity Youth Activities Manager, Roseanna Dias, Assistant Producer and Emma Harvey, Trinity CEO. Photo @Khali Ackford

Benjamin Zephaniah: Poet, writer, musician, actor, Rastafarian and proud vegan, anarchist and political campaigner / activist kindly agreed to take part in an exclusive industry insight session designed to better integrate Trinity’s live event programme with our in house music training provision.

Funded by Youth Music and partner funders, ‘Making Tracks’, is a dynamic city wide partnership between Trinity, Basement studios and Aspiration, Creation and Elevation (ACE) providing 121, small group music sessions, workshops and performance opportunities to young people in challenging circumstances. The focus of this provision is to build confidence, develop and support talented young musicians providing them with realistic progression routes leading them to reengage back in to education, work, tapprenticeship or meaningful activity.

"If you want to be a musician, artist or poet you need to act and think like a musician, artist or poet. Just do it." Benjamin Zephaniah

Benjamin was in good spirits and smiling broadly. After a brief informal meet and greet / book signing session with 12 students he hopped up on to Trinity’s main stage to join his band, The Revolutionary Minds, finishing off the soundcheck in preparation for the evenings performance. Shortly afterwards Benjamin rejoined our students and spent well over an hour of his own free time to answer questions providing the young people we work with a rare, informative and truly inspirational insight into his life and professional working methods.

From reminiscing about his early years, as a small child disinterested in the usual kids stuff like toys and action figures he would spend hours upon hours amusing himself quietly in the corner, ‘playing with words’, as he describes it. In fact, he became so obsessed by words and the different the ways in which they can be moulded, shaped and misinterpreted depending on context, that his worried mum took him to a psychiatrist at the tender age of 7!

Benjamin spent over 1 hour chatting with young people, answering questions and sharing his story. Photo @Khali Ackford

It wasn’t too long after that his burgeoning rebel spirit coupled with severe dyslexia got him into all kinds of scrapes, which, unfortunately led to him being expelled from school and placed into a pupil referral unit, in which, at that time, the teachers would regularly punish the children and shamefully tell him he would never achieve anything in life. As he got older, his behaviour worsened and he ended up in a Borstal prison for young offenders. It was here that he had a lot of time to think about his life and began to change his ways. Determined to prove the prison officers who taunted him by saying he would be back behind bars within 3 months wrong, he set about changing course in order to focus more seriously on his poetry and performance.

"I could have hung out with these cats all night. I love them. I hope they all stay creative. We need to hear them." Benjamin Zephaniah

He regaled us with often hilarious anecdotes and hair raising tales of performing at Northern miners strike benefit gigs in the early 80s. He talked about being confronted by shocking levels of racism, ignorance and bigotry through to receiving praise from Nelson Mandela to nostalgic recollection of an old much admired tutor who taught him how to build and deconstruct a car engine, for which he is still grateful.

Benjamin chats with Dave Thomas, Trinity Youth Activities Manager and young people from Making Tracks. Photo @Khali Ackford

Benjamin’s main piece of advice to our music students wanting to progress within the music industry was to, ‘think for yourselves’, he could not stress enough how important this is. He also said that despite sounding cliched, it is vital to ‘believe in yourself. If you want to be a musician, artist or poet you need to act and think like a musician, artist or poet. Just do it.’, he enthused. He also went on to talk in great detail about the importance of, ‘understanding how the industry works’, surrounding yourself with the right people (managers / band members, etc) his approach and methods to songwriting, ways to counter creative block and last but by no means least, the ritual of ensuring his teeth are thoroughly cleaned before each and every live / public performance!

This was a truly exceptional and inspirational industry insight and on behalf of all at Trinity, Making Tracks and our partners ACE and Basement, we would like to once again thank Benjamin, his management, band, live engineer and especially his booking agent for helping to make this incredible opportunity a reality.

Written by Dave Thomas, Trinity Youth Activities Manager

Making Tracks is supported by Youth Music and using public funding by the National Lottery through Arts Council England.

Area of Effect play Garden Party in 2018 photo @Jessica Bartolini

Garden Party is one of our most popular events - each year we programme family friendly workshops and some of Bristol and the South West's best bands and DJ's.

Our Making Tracks Showcase is an opportunity for young people, from our music making project, to showcase their talent to a 3,000 person Garden Party audience! The Showcase will be on the main stage from 12:00 - 12:30 then, in the main hall from 3pm - 6pm.

Students will join an awesome lineup including Sam Binga,  Rider Shafiue, Dutchie + Indra and Almatic.

We wish them all the luck x

Singer-songwriter Holly Miller performing in Making Tracks Christmas Showcase in 2018

Holly Miller

Holly has been attending the Making Tracks programme for 8 months and has used this time to hone her singer-songwriter craft to create intimate acoustic songs covering universal themes of love, loss and life.

Miss Tee is prime for a summer hit, watch out for her.

Miss Tee

Miss Tee is a multi skilled singer, songwriter and producer who has progressed in leaps and bounds through taking part with our Making Tracks programme, developing her awesome writing capabilities and finding her own distinctive sound.

Sam Neal has been honing his distinctive sound during 121 sessions at Trinity

Sam Neal

Sam Neal is a Making Tracks veteran. This uplifting singer-songwriter's soulful summer sounds are guaranteed to get the crowd moving.

Meghan

Meghan is a multi-discipline drummer / singer. As a performer she is a ball of energy, that can't be ignored - whether it's rocking out on her drum kit or serving fierce vocals Meghan always packs a punch.

Rob B

Rob proves it's never to late to pursue your passion. Having joined 18 months ago his Drum and Bass DJ stylings have thrived producing a mature sound. Area of Effect - Making their return to the Trinity, Garden Party stage Area's of Effect are a young Indie-Rock band - with oodles of talent and buckets of energy.

Making Tracks is a collaborative partnership between Trinity, ACE and Basement Studios. Making Tracks is supported by Youth Music and using public funding by the National Lottery through Arts Council England.

Roxana (far right) and Lullabies producer Katy Noakes (far left) surrounded by children from the Rosemary Nursery @ Alexa Ledecky

Trinity neighbours Rosemary Nursery came along for a workshop in the afternoon. They were welcomed in a cosy space that really reflected the warm and intimate feel of the Lullabies project. The children and carers sat comfortably on colourful cushions and carpets and watched an audio-visual piece that showcases the Lullabies gathered by Roxana and her team.

The Lullabies rickshaw created by Designer Ruth Ramsay @ Alexa Ledecky

They then learnt to sing a Somalian lullaby with two project participants before having their photo taken on the Lullabies rickshaw. The rickshaw was created by Designer Ruth Ramsay with the idea to involve further communities by cycling around more cities to gathering more lullabies.

Trinity Engagement Office Edson Burton reading his poem amongst an audience of adults and children @ Alexa Ledecky

The workshop was followed by an evening sharing attended by a larger, mainly adult audience. The audio-visual piece was screened again and followed by a live Kurdish lullaby singing and a poem reading.

Adults and children interact after the screening and live performances before a Q£A with the Lullabies creative team @ Alexa Ledecky

It felt particularly special and soothing to have children and adults come together as part of the sharing. During the feedback session, an audience member said: “Loved having kids around made it beautifully relaxed, comforting and accessible”.

Lullaby contributors serve home made Somalian food to audience members @ Alexa Ledecky

Everyone was able to enjoy freshly cooked Somalian food as part of the sharing, which was kindly prepared and served by local project participants. This brought a particularly heart warming touch to the evening and allowed everyone to engage in informal conversations.

Two audience members sit with colourful pieces of bunting and pens on their knees @ Alexa Ledecky

As well as discussing the project with Roxana and her team in a Q&A, the audience could give written feedback about the sharing, of which: “Beautiful songs, images, words and feelings. Thank you to all who shared. It has inspired me to explore my own heritage through song” and “So much love down the generations. Singing of fears and making them less”.

The IGNiTE and Lullabies teams pose together in front of the Rickshaw @ Alexa Ledecky

Read more about the Lullabies project on Roxana’s website and about our other artists in resident including Ania Varez, Viki Browne and Vicki Hearne.

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 by Bristol City Council.

Jack took part in Making Tracks Summer Music Session Aug 2018 (photo @ Alastair Brookes)

I was 16 when I dropped out of college. I didn't do well at my GCSCE's and ended up on a course I didn't want to be on. I lacked focus and was depressed within that environment. I grew up on a poor estate and the idea of never achieving anything in life was kind of drummed into me.

I was NEET for about a month until I was picked by an agency (LPW) who advised me to start looking at mini courses and apprenticeships. It was through these opportunities that I was eventually referred across to Trinity to take part in the Making Tracks Project.

I really enjoy making music and after some time on the Making Tracks course I ended up taking part in a work experience placement going in every Wednesday for a couple of hours and sitting in on various 121 sessions and even in some cases leading sessions with other students (with Trinity's support).

During these sessions I helped other young people to record vocal tracks, produce original beats and assist live rehearsal sessions. I have also attended professional training as part of the team and gained a safeguarding certificate.

Making Tracks is a collaborative project between Trinity, Basement Studios & Aspiration Creation Elevation (ACE@Docklands) and is supported by Youth Music and using public funding by the National Lottery through Arts Council England. Click here to find out more about our projects, helping ensure that everyone in Bristol has the opportunity to access and shape arts and culture.

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

During the afternoon prior to performing his show as part of Trinity’s IGNiTE, Scottee gave a workshop titled “Making Stuff About Stuff”. The session was delivered in an open-minded, safe space, allowing all participants to exchange ideas freely.

Those who attended were able to share amongst one another and with theatre maker and performer Scottee himself. They discussed ways of finding inspiration for creating new work through different exercises.

Scottee introduced ways of finding new themes to develop new meaningful work. He started off by encouraging the participants to create a list of words that reflects their identity in their own eyes and the eyes of others.

In the second phase of the workshop, Scottee invited the participants to create a list of what makes them angry and to choose one of these particular ideas and write a “rant” about it.

"It felt like a really safe and generous moment. I liked having less 'showing work' and more talking about creative process in an interactive way" - workshop participant

There are plenty more IGNiTE workshops around the corner. Why not join Shane Shambhu (Confessions of a Cockney Temple Dancer,10 Mar) or Akeim Toussaint in the day time (before Windows of Displacement, 23 Mar), or drop in just before Rent Party (16 Mar) take to the stage for a dance workshop?

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!

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.

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

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.

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

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

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.

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