Community Painting Day. Photo credit: Khali Ackford

In partnership with St Paul’s Carnival and David Jubb of Citizens In Power, Trinity are exploring how we can co-create a cultural strategy for the city and surrounding region.

During this research phase funded by Calouste Gulbenkian Foundation (UK Branch), we invited a range of collaborators from the sector who place participation at the heart of their practice to hear from some of the best speakers working in democratic decision making right now.

These focus groups have been a chance to share ideas, experiences, knowledge and expertise on co-creation, participatory democracy and how we can do things differently in the culture sector.

In a series of blogs we are documenting and sharing what we are uncovering this journey.

Part 1: What is a Citizens' Assembly?

For the first focus group we welcomed Brett Hennig, co-founder of the Sortition Foundation. The Sortition Foundation is an organisation that believes in representative and participatory politics, with a particular focus on Citizens' Assemblies.

The purpose of these assemblies, Brett outlined, is that they bring people together from all walks of life and give the time and space for people to collectively tackle issues. It is a model, Brett shared, that Bristol itself has delivered as part of its plan for post-Covid recovery.

Citizens' Assemblies work by a three-part process of learning, discussion, and decision-making. In the learning stage, evidence is presented on the topic by ‘expert witnesses’, the group then discuss this evidence and work together to come to a consensus to create recommendations. These recommendations are then put to the vote. The recommendations that are most supported can become the official recommendations of the assembly.

Brett stressed the importance of having representation in a Citizens' Assembly, so the pool must be reflective of demographic data and, in the case of our project, cultural engagement. He shared that, unlike politics, Young People (30 and under) are represented in Citizens' Assemblies because of the nature of the selection process that reflects a city’s demographic data.

Participants of Citizens' Assemblies are selected via an independent third party - these organisations will initially contact citizens directly using a database, such as the Royal Mail’s database of every postal address in the UK. There is then a second selection of the people who respond to the invitation based on the demographic data they provide.

The group were interested in how the experts are selected - as this could be contentious. Using an example of congestion in a city, Brett explained that a Local Authority could commission an external third party to collect the evidence at hand, perhaps from an open call out. An Oversight Group for the assembly will be given the responsibility for ensuring the evidence that is presented to the assembly is balanced. Assembly members can also be part of the process of identifying contributors to the assembly. This would enable a wider pool of opinions, practically from those invested in the topic with expertise and/or lived experience.

The group wanted to understand how large a Citizens' Assembly should be. Brett shared that, in deliberative democracy, it is not a big numbers game. The key is representation. Brett shared that in Ireland, assemblies have seen numbers of up to 100 people, France had 150 in the Climate Assembly, but many local assemblies are around 40 people.

In summarising his talk, the discussion centred around how to ensure that voices are heard and amplified in Citizens' Assemblies, specifically those from Communities who may face barriers to participation. Brett shared that perhaps over-representation could be a consideration so that more communities are attending for specific areas whose voices are historically not amplified. Brett also explained that representation is not only about the citizens in the assembly but also about the voices of those who give evidence.

Interested in finding out more?

We will continue to share our findings from the research stage our project alongside programming further focus groups and action-learning sessions.

• Keep up-to-date about the project by joining our mailing list
• Read Freddie Wulf's article: Identity Capital
• Watch Trinity's take over of the Radix Big Tent
• Join in the conversation using #67MillionVoices

Courtesy of Ben and Kath

Courtesy of Clare and Sam

Courtesy of Emma and Nick

Courtesy of Ben and Kath

Prices start from £550

“Amongst all the uncertainty and lows that COVID-19 has brought, we had the most amazing, intimate and glorious wedding day thanks to Trinity staff. The venue is relaxed, beautiful and great value and the staff are incredible, so much so we will be returning to Trinity next year to celebrate our wedding reception with our family and friends.”

Ben and Kath, 2020

As an independent grassroots venue, Trinity's experienced team know how to put on a party! Our licensed venue is now available for weddings throughout the summer.

When you book with Trinity, you can be confident knowing we will work with you to respond to changing  restrictions to make sure your special day goes ahead as planned. If changes due to restrictions means the event can't go ahead, your deposit is secure and can be either refunded or transferred to a future available date.

As a Grade II* Listed former-church, its backdrop of original features, stained-glass windows and ornate stonework make the Trinity Centre the perfect venue for your wedding ceremony and reception.

For more about what your wedding day could look like, download our wedding brochure for info about spaces and packages or get in touch on info@trinitybristol.org.uk to request a viewing. Availability is limited so we recommend getting in touch today to secure your date!

Click here to book your wedding

Car park closures, better building and a secured future

Thanks to help from the Heritage Lottery Fund and match funders, alongside donations gifted from the public we are finally at a point where we can put scaffolding around the building and begin to embark on major and much needed repairs to the stonework. Alongside the most damaged masonry we will be fixing the windows so the building will be cleaner and lighter.

Access to The Trinity Centre will stay the same but during the 45 weeks the scaffolding is up our car park capacity will be severely reduced so anyone visiting us should think about alternative parking or modes of transport.

Now we have got this far we are going to be raising the funds to complete works on all the masonry (not just the most severely damaged as we had planned). Fund-raising for this now will mean we ensure that Trinity stays open for future generations and by doing the extra work now means we can limit the impact both on the public and financially.

To celebrate Trinity's history we will be launching a series of events, talks, and courses in artisan crafts to compliment the works. You can  find out more about the project here. To keep up-to-date and informed about the project sign up to our mailing list at 3ca.org.uk/mail or follow us on Twitter and Facebook.

Works due to start 2 Oct for 45 weeks.

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.

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

Vice & Virtue: Discovering the story of Old Market will be officially launched at an event at Trinity on Thursday 16th July, 6:30-9pm.

The event which also includes the launch of an on-going exhibition and website has been organised by Trinity Community Arts and is part of their commitment to celebrating the heritage of Bristol’s legendary Old Market high street.

The book is currently on sale at the Trinity Centre and via Bristol Books, who describe the book as follows:

‘Medieval market,’ ‘bustling High Street’, ‘wild west’, ‘a wasteland’, ‘massage parlours’, ‘gay area’, ‘up and coming.’ Old Market conjures a myriad of conflicting associations in the minds of Bristolians. There is some truth to all these associations. They reveal the story of Old Market’s brightest hour as part of Bristol’s shopping Golden Mile, the riotous inter war years, the impact of war, post war decline brought on by the redevelopment of the city centre, and revival as Bristol’s gay quarter.

Vice and Virtue details each phase, introducing the reader to the people, the institutions and the processes that have created Old Market’s rich heritage. The title is a playful nod to complex and interlinked themes that have defined this area for centuries.

For more information, visit our Marketplace.

The book was written by Dr Edson Burton and Mike Manson and has been produced thanks to funding from Heritage Lottery Fund and with support from The Old Market Community Association and Quartet Community Foundation.

For more information about the launch event on Thu 16th July, click here. If you would like to attend the event, please send an RSVP to info@3ca.org.uk or call the Trinity office on 0117 935 1200 and leave your name.

Arts West Side & SPACE joined forces from Apr 2016 to March 2018

“We are very proud of what we've achieved with Arts West Side and are sorry that we aren't able to continue this good work but are glad to see it will continue to be used as an arts space for the next couple of years. Thank you to everyone who has supported us since we took it on it 2011.” Karina Castro, Project Manager.

Last week, we all said a goodbye to a familiar landmark in Old Market, as the friendly pigeons on the façade of Arts West Side – painted by renowned Bristol street artist Silent Hobo – were painted over, marking the end of an era for one of the area’s only dedicated community arts spaces.

Owned by Bristol City Council, 6 West Street was handed over to Trinity Community Arts, via the city’s Community Asset Transfer (CAT) process on a ‘peppercorn’ leasehold. We have been looking after the building since 2011, in order to increase arts provision in Old Market, at a time when the area was struggling with boarded up and vacant premises.

Since then, ‘Arts West Side’ has provided artists and communities with an affordable, central resource used and visited by over 2,000 people each year, helping to encourage other businesses and social enterprises to take up residency in the area. As part of the Council's bid to plug a £102m deficit, they are now seeking a commercial rent from the building.

The space will continue to be used as a meanwhile creative hub at a reduced rent by Arts West Side partners for the last 18 months, Artspace Lifespace (ASLS), who will continue their SPACE project until 2020.

We will now focus our efforts on the Trinity Centre building, which is also owned by Bristol City Council. We are currently fundraising to carry out conservation work to the much-loved community asset, having already invested over £1.5 million in protecting the Grade II* listed building.

Help us secure Trinity's past, present and future

Trinity Presents Garden Sessions. Design by Adam Menzies

Drum roll please… We are ready to welcome you back music lovers! In a specially erected tent in the historic grounds of Trinity, we will be running weekend sessions throughout the Autumn and we cannot wait.

Trinity Presents Garden Sessions will run throughout October, launching its first weekend with Bristol's experimental trio Waldo’s Gift (Oct 16), Livity Sound's Hodge & Danielle (Oct 17), and Dubkasm meets Ashanti Selah (Oct 18).

With Saturday & Sunday being powered by Sinai Soundystem.

“We cannot wait to welcome our music-loving audiences back to Trinity and have worked hard to make sure that we can provide a safe space for our audiences to come and enjoy what they love most - music. We cannot wait to bring well-loved artists, from Bristol and beyond, back to Trinity.” Jamell Ackford, Venue Manager

Ticket buyers can book a table for up to 6 people (from £48 +bf). Drinks will be served via Love My Local and there will be options to purchase food.

Tickets go on sale Sep 16, 10am.

Trinity Centre, finally revealed photo @ Sarah Koury

After nearly a year of being covered by scaffolding we are finally set to reveal our iconic towers again after completing our programme of critical repair works.

“We have been overwhelmed by people’s support, generosity and love of Trinity,Support from funders and members of the public means that we’ve been able to secure the building’s future for generations to come and we want to say a big thank you to everyone involved. We will continue to work hard to make Trinity the diverse and pioneering community venue that the city deserves” Emma Harvey, Trinity Centre Director

Works to the centre, a Grade II* listed building, began in October 2017 as part of our long-term plan to conserve and renovate The Trinity Centre and protect its future, both as a community arts hub and also one Bristol’s most respected live-music venues.

In January 2018, investigations revealed extensive historic damage to the building, leaving the us to raise further funds to stop the building from further deterioration and prevent the former-church from being placed back onto Historic England’s ‘At Risk’ Register.

Following a public appeal to help secure Trinity’s past, present and future, we were fortunate to receive an uplift grant from Historic England, alongside support from the Heritage Lottery Fund, Bristol City Council, other charitable Trusts & Foundations as well as generous donations from the public.

A 51 week critical work programme has been undertaken, overseen by Bristol-based Ferguson Mann Architects and construction firm Carrek – locally based specialists in historic conservation. Works included repairs to the roofing, stained glass windows and iconic ‘Trinity towers’, as well as intricate repair of the historic Bath-stone fabric of the building.

After a year long programme of conservation works the Trinity Centre awaits the removal of the final scaffolding (photo credit @Khali Ackford)

Since 2008, we have invested over £2 million in repairing and restoring the Trinity Centre - which is owned by Bristol City Council - transforming it from a dilapidated space into a thriving participatory arts centre for inner-city residents. These latest repair works are the final phase of repairs to restore the fabric of the building and further improvement works are planned, to increase the centre’s usability and sustainability.

Stonemasons take a break after inspecting their work, with East Bristol in the background (photo credit @Khali Ackford)

We had to prioritise what works we undertook meaning that we had to omit some of the planned sustainability improvements, such a second solar PV installation and solar battery storage as well as some additional sound proofing measures.

With Trinity Road Police Station earmarked for a possible residential development, we are aware how important these improvements are both for existing and potential new residents. Therefore we are committed to continuing to ensure there is investment in venue improvements in order to maximise use and sustain the building’s future.

Improvements to the building mean that centre we can continue to be home to over 160 community and voluntary groups who run a range of regular activities from dance classes for older people to the monthly Rhythm of the Night, a nightclub for adults with learning difficulties. We support community groups with over 1400 hours of free and subsidised hall space each year to ensure that the centre continues to provide invaluable public benefit. Activities like these are made possible in part through income generated through our car park and support from public donations.

“I’m 75 and still dancing – this means so much in term of fitness, socialising and even mental fitness. This wouldn’t be possible without Trinity – who provide amazing spaces for classes” says Adrian Longstaffe who attends Gerry’s Attic, a dance group held weekly at Trinity.

The Trinity Towers awaiting their big reveal (photo credit @Khali Ackford)

We will be celebrating the completion of these works at our celebratory ‘Heart & Soul’ event and AGM and warmly invite all to attend-  on 4 October.

You can play your part in Trinity’s future, by donating to Trinity and help support groups like Gerry’s Attic to find community, happiness and opportunity.  Donate online www.3ca.org.uk/donatenow, or text TR1N13 £5 to 70070

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!

Team Trinity, pre-lockdown

The Trinity Centre, Old Market, has been given a grant of £35k as part of Arts Council England's £160m emergency package to support the arts sector during the Covid-19 pandemic.

Over 80% of Trinity's revenue is earned income from live music, bar sales, a pay and display public car park, plus hall hire for a range of community events and activities. Trading has ceased since the pandemic and the venue is anticipating a slow recovery once restrictions begin to lift, due to potential extended restrictions on public gatherings.

The grant from Arts Council England will be used to support Trinity through its recovery plan as well as help us to adapt existing projects and move activities online. As this is also a very difficult time for artists and freelance practitioners, Trinity is committing 20% of its grant to pay independent artists and community members for contributions to 'Trinity Presents'. This will include online workshops with Trinity's Associate Artist and local resident, Roxanna Vilk.

"Never have the Arts been more important than now, in these peculiar times. Singing, dancing, painting, drama, poetry - people are reaching out to all the art forms for nourishment, comfort, entertainment & wisdom. We mustn’t starve our imaginations & Trinity has a part to play in refreshing & delighting its followers. I’m thrilled to be one of them." Miriam Margolyes OBE, Trinity Patron

Trinity will be releasing information about an open-call commission for an independent D/Deaf or disabled artist to create a new piece of digital work.

Speaking of the recent support, Tom Marshman, Board Member and Local Artist said:

“Not really a time for a massive celebration party, more of an opportunity to take a breath and pause whilst we all stabilize ourselves and look forward to life after isolation. With this promise of the Emergency Arts Council Grant, Trinity can feel more assured that they will continue to be at the heart of Bristol culture and community engagement that is always people centred”.

Since we began our lockdown Trinity has been working hard to ensure that we continue to reach out to our community and support the independent artists that we work with. We have been providing a digital platform via Trinity Presents. Arts Council support at this crucial point, means we can continue this offer as well as find new ways to support artists to connect communities with relevant and much needed cultural experiences.