Image: Nathalie Codsi in Arnold's Big Adventure by Tessa Bide Productions, photo by Kai Taylor

Spilt Ink Theatre Company have been awarded Trinity’s Young Audiences Commission to develop a new piece of work for 3-10 year olds. The £6,000 commission has been made possible through the support of the Cultural Recovery Fund.

Spilt Ink are a physical theatre company who create playful, joyful and fun work with and for communities and children. During their development commission they will be exploring the themes of home and identity.

“We will create a fantasy ‘home’ rooted in real stories of our multicultural community. It will explore both the physical sensation of home and the cultural meaning of home.  We will question what home means to ourselves, as diverse artists, and to the multicultural local community of East Bristol.”

They will work with Trinity and local community partners to deliver creative and playful workshops with local children and families; sharing and exploring the stories of the many communities living in Lawrence Hill and Easton.

Spilt Ink were selected for the commission following an open call out that received 20 project proposals. Their project, Home, stood out to our parent-led selection panel - made up of staff, volunteers and community reps - for the way it placed co-creation at its core and young people at the centre of deciding where the project journey would take them.

Between its members - Lebanese/Italian actor and theatre maker Nathalie Codsi, Bristol-based international theatre director, community arts facilitator and performer Hester Welch, and British actor, puppeteer/ theatre maker Sarah Cribdon, Spilt Ink have a wealth of experience of working with diverse communities across the world and we look forward to seeing where Home will take them.

If you are interested in finding out more about how to get involved with the Young Audiences Commission as it emerges, please get in touch or sign up to our mailing list.

When Culture Secretary Oliver Dowden advised 25 of the UK’s most recognisable cultural institutions* to be consistent with the Government on issues of contested heritage, voices across heritage and the arts expressed a need for separation between culture and politics.

But when charities faced calls from Charity Commission Chair to remain apolitical - a reaction to groups such as The National Trust opting to present the colonial history of some of their properties - the cultural sector was equally unhappy.

This may appear contradictory; on the one hand, arts and heritage charities calling for state and art to be kept separate while at the same time bawking at being told to avoid politicising activity. Maybe artists aren’t that great at being told what to do. Or maybe politics can be intrinsic to, whilst also remaining separate from, the work of charities.

The work of charities is intrinsic to (small p) politics

Arts and heritage charities exist to enrich our understanding of the past and inspire the next generation to build a better future. These aren’t just fluffy-feels. Rather, they are legally defined principles, set out in what is known as ‘Charitable Objects’.

Objects such as, ‘to preserve and promote heritage and arts’, ‘advance education’, or ‘promote equality of opportunity for persons of different racial and cultural identities’, can’t help but touch upon the micro-politics of everyday life.

Objects exist to focus resources and give donors assurance funds will go toward furthering their chosen cause. When we give to charities, we put our trust in them to decide how to best use those resources in pursuit of the Objects.

Funders may request charities use a hashtag in acknowledgement of funds or report on how funds are spent. But, this need for accountability does not take precedent over thee responsibility to stakeholders first and foremost.

As independent legal entities, charities must remain free to decide what activities are most appropriate in pursuit of their Objects, for the good of those they serve. Charities cannot act against their legitimate Objects just to keep someone happy - even when that someone is the Culture Secretary, or the Charity Commission Chair.

Art and (capital P) Politics must be separate

When it comes to funding, this ‘at arms length’ principle is important for the autonomy of all charities and is particularly notable in UK culture, with creation of The Arts Council itself post-WWII to ensure a clear separation between culture and capital P Politics.

This separation of Charity from State is critical as it safeguards the pursuit of a charity's mission from any shift in government priorities.

It means charities can focus on the interests of those they serve rather than being distracted by the interests of those who fund them. They cannot de-prioritise stakeholder interests in the pursuit funds, even where those funds are administered by the Government or public funding bodies such as Lottery. They must be able to maintain their autonomy so they can flex and adapt to meet changing stakeholder needs - not least so they can ensure they remain relevant to an ever diversifying donor pool.

Applying pressure on how legally constituted organisations pursue their legitimate charitable aims - by warning public funding will be ‘scrutinised’ should they not tow the line, for example - is even more problematic right now, due to the financial precariousness of the sector.

Charities exist to make change and pursue activities that help to make life fairer for us all. To use Chris Whitty’s ‘Swiss-cheese’ analogy, they plug any gaps in the wider public sector safety-net. We must protect this freedom at all costs, so charities can respond to the disproportionate impact of the pandemic, amplify stories that give new perspectives to dominant narratives and ensure the art we make remains free from Political constraints.

Our charities, our heritage and our culture must remain independent. That freedom is more important than ever, for the sake of our collective recovery and prosperity. We must distinguish between the Politics to be kept at arms length and that which is central to our mission if want our vision to remain in arms reach.

By Emma Harvey, CEO

Seven ways to show solidarity

1. Support the work groups diversifying the sector, such as Migrants in Culture and Inc Arts
2. Sign Howell Furber 's petition to encourage to reconsider DCMS' stance on contested histories
3. Follow news about the Hands Off Our Heritage on social media
4. Sign up to Strike A Light's mailing list to be part of future cross-sector conversations
5. Join The Museums Association's campaign to decolonise museums
6. Write to your MP in support of a 'Keep At Arms Length' approach to UK culture
7. Show your support on social media to those such as @nationaltrust and other UK arts and heritage charities impacted*, using hashtags such as #KeepItArmsLength #HandsOffOurHeritage

*List of organisations: The British Film Institute, British Library, British Museum, Churches Conservation Trust, Historic Royal Palaces, Horniman Museum, Imperial War Museum, Museum of the Home, National Archives, National Gallery, National Museums Liverpool, National Portrait Gallery, Natural History Museum, Royal Armouries, Royal Museums Greenwich, Royal Parks, Science Museum Group, Sir John Soane’s Museum, Tate Gallery, V&A Museum, Wallace Collection, Arts Council England, Historic England, National Lottery Communities Fund, National Lottery Heritage Fund

Find out more about Moving Bristol’s Producer Deborah.

Deborah Baddoo MBE is the Producer for Bristol Dance Future’s Moving Bristol project. The project focuses on developing dance practice for new and existing audiences and developing an ecology of dance across Bristol.

Drawn to the opportunity by a desire to galvanise action and create a legacy for Dance in the city, Deborah brings her extensive experience in the dance sector to the role.

Passionate about her long-term vision to raise the profile and support the development of Black choreographers nationally and internationally,she was awarded an MBE for service to dance in 2010. In 1986 in partnership with musician Steve Marshall, she set up arts production company State of Emergency. The company produces shows, projects and events and works with world-class artists and creates opportunities for emerging artists. The charitable arm, State of Trust works to use the arts to promote social cohesion.

Deborah has also worked as an Arts Council Agent for Change with Bristol Old Vic and Sailsbury Playhouse, was Diversity Consultant for Bristol Museums and has worked with many renowned dance and arts organisations across the UK including Rich Mix, DanceXchange, Stratford Circus, Swindon Dance and East London Dance.

As well as a planned programme of industry events - such as the upcoming Dance and Health Conference 2021 - Deborah has collaborated with the Dance Futures Steering Group, independent artists and organisations to select the Dance Connect residencies. The residencies are an opportunity for practitioners, organisations and communities to collaboratively develop a programme of dance activity. Artists will explore and develop ways that dance can be enjoyed and experienced by new and existing audiences and participants across the city.

Deborah has also supported the creation of three Dance Hubs across the city to focus on the development of Dance for Health, Young People and Audiences. Organisations on board are Arnolfini, Creative Youth Network and Trinity. Trinity will be working with dance practitioners Lerato Dunn and Rachel James to programme activity in our role as the Arts & Health Dance Hub for the project.

Find out more about Moving Bristol here.

About Bristol Dance Futures

Bristol Dance Futures, is a consortium of Bristol organisations and independent artists, that nurtures talents and provides professional development opportunities for dancers, with an aim to create a vibrant dance ecology, so people of all ages can engage with high-quality dance.

Dance Connect is supported by funding from Arts Council England

With the latest 'Meet the Researchers' event coming up next week, we touch base with the Curator Edson Burton who heads up the #Resist Team to find out what's been going on behind the scenes with Trinity's latest heritage project.

Tell us about Art of Resistance

The Art of Resistance is a two-year programme of research, activities and events charting looking at creative responses to resistance movements in Bristol. We will focus on five key movements over the last 100 years:

• Women’s Equality Suffragette to the #MeToo Movement
• Anti-Racism/Anti-Fascism – Black Shirts to Black Lives Matters
• Workers' Rights - Hunger Marches to unionising the gig economy
• Counter Culture – Rastafari, Squatters, Travellers & the free party scene
• Reclaiming the Environment – CND, Extinction Rebellion, graffiti to street art

Each strand will be explored through research and activities including talks, workshops and reminiscence sessions.

Tells us a little about what's been going on with the project?

As with many across the cultural and heritage sectors, we've had to navigate the impact of COVID-19. Online platforms have become our best friend; we've hosted two project ‘Intro' sessions, giving members of the public a chance to find out more and how they can contribute either by sharing their 'resistance art', or by volunteering with one of our research teams to help uncover Bristol's stories of resistance and that art that helped drive forward some of the City's key movements over the last few decades.

What have you uncovered so far?

We've started off by talking to and interviewing some of the leading lights in active Bristol movements and are looking forward to sharing over the coming weeks interviews including activist & Councillor Cleo Lake, photographer & Black Lives Matter activist Khali Ackford, the inimitable wordsmith/producer Rider Shafique, the legendary Rita Lynch and the force behind the internationally loved Watershed cinema, curator Mark Cosgrove.

We've also been sent some truly impactful images of protests by locally based photographers Tara Klein, Colin Moody, Daniel Durrans - plus Bristol stalwart Eugene Byrne has given us use of their archival pictures. We'll be bringing you these‘snapshots of resistance' across upcoming online and physical exhibitions.

What are you looking forward to?

In readiness for our next stage of research, we've been setting up the delivery team to all the help run the project and are happy to welcome new project assistant Esther to the team. So, we're really looking forward to a return to our first installment of socially-distanced events and activities.

How do people get involved?

If you're interested in getting involved or would like to know more, come along to our next online event: Meet the Researchers, Monday 22 Feb 2021. Each researcher will share their interests and experiences giving you the chance to decide which strand you wish to follow.

We'll be bringing you more activities and events over the coming months so keep an eye on our website and social media channels or sign up to our e-newsletter.

If you've got a story or artwork you'd like to share as part of the project, please get in touch or upload content using our Art Of Resistance Submission form.

Keep up-to-date with the project, including how you can take part, by signing up to our mailing list here.

Trinity has been awarded £45k from Architectural Heritage Fund to carry out an updated feasibility study as part of ongoing phased renovation and conservation works. This grant will cover associated specialist professional fees to adapt capital works plans in light of the impact of COVID19 on trading activity.

Trinity will commission a professional team of architects and specialists to update their 2012 study. This will be informed by the impact of the pandemic on the charity’s stakeholders and the music sector, which has traditionally generated revenue for the centre to subsidise a broad community programme.

Trinity will undertake an in-depth community consultation process so that the revised options appraisal can be informed by all relevant stakeholders, including local residents, artists and promoters, as well as heritage specialists.

The final feasibility study will lead to further redevelopment of the Trinity Centre so that it can continue to be a secure environment for a diverse range of cultural activities and events, which communities will need more than ever post-pandemic.

Matthew Mckeague, CEO, Architectural Heritage Fund, said:

“The COVID-19 crisis has brought unparalleled uncertainty to the heritage sector, with organisations that rely on visitor income or community group usage shuttered for most of the past year. However, these grants will support organisations in becoming more resilient as they emerge from the crisis.

“For forty-five years, the Architectural Heritage Fund has been committed to supporting communities to develop sustainable new uses for their much-loved historic buildings. We are pleased to have been able to offer this additional support at a time of extraordinary need and are very grateful to DCMS for funding these vital grants.”

If you are interested in being involved in stakeholder consultation, please sign up to our mailing list to be kept informed about the programme.

#HereForCulture

Be part of Roxana Vilk's global project, collecting and celebrating Lullabies

Lullabies is a project by Associate Artist Roxana Vilk, connecting people around the world through lullabies. Inspired by singing traditional Iranian lullabies to her children at night, Roxana wondered how many other families where singing lullabies in the many languages spoken across Bristol. This year Roxana is asking the public to share their Lullabies with the project.

Get Involved

What did your family sing to you? And by lullaby we mean any song you may sing or have sung to you. It doesn’t have to strictly be a lullaby. What do you sing to lull your child to sleep at night? We’d love to know the story behind it, who taught it to you? and what it means to you?

You can share your lullaby by sending us a video or audio recording of you singing or speaking your lullaby. It can be in any language and a very simple video or audio recording from your phone.

If you’d like to send a picture of yourself too, we’d love to see the person behind the story. We’re also very happy if you’d prefer to remain anonymous.

Click here to submit your Lullaby.

Lullabies is a project by Associate Artist Roxana Vilk, connecting people around the world through Lullabies.

Trans Pride, Bristol. Photo by Tara Klein

Photo by Daniel Durrans

Photo by Colin Moody

Vonalina Cake Photography

UK Black Pride

February is LGBTQ+ History Month - an opportunity to celebrate the achievements of the LGBTQ+ community in Bristol and further afield.

Since the decriminalisation of homosexuality in 1967, the LGBTQ community in Bristol has grown in visibility.

The discreet clubs such as the Radnor Bristol have been superseded by the bright declamatory colours of clubs and bars in Old Market and Park Street.

Perhaps the most significant event it the Bristol's calendar after Harbour Festival is Bristol Pride, one of Bristol’s the city's largest free/donation only festivals attracting 40,000 people to their event on the Downs in 2019.

Behind this visibility is a long history of struggle by the gay community.

Coming out continues to carry the risk of social ostracism if not violence. Introduced under a Thatcher Government in 1988, Clause 28 prohibited the teaching of gay materials in schools. Though we have come a long way since this point, current RSE guidelines still allow parents to withdraw their children from lessons where gay friendly teaching materials are introduced into the learning environment. Religious and political extremists of various persuasions continue to target anti-LGBTQ communities.

Section 28 was taken off the statute books in 2003 but the battle for gay rights and for acceptance continues. Visibility remains revolutionary.

What it means to be gay has also evolved since decriminalisation and this evolution has been about the internal journey of the community itself. In use since the late 80s-90s, the term LGBT began to replace the term 'gay' in reference to the broader community. Since this time, lesbian, gay and bisexual Bristolians have been working to find their common cause among diversity of needs and interests, with the inclusion of a spectrum of trans identities becoming more visible as part of recent movements.

Questioning gender identities has led to the growth of non-binary identification awareness. Formed in 2017, Kiki Bristol has expressed the voice of Bristol’s Queer People of Colour QTIPOC. Kiki is now an essential part of the Bristol landscape.

The LGBTQ community have opened a space in which sexuality and sexual identity can now be contested, where suppression and conformity is no longer inevitable and exploration in its myriad forms is the new normal.

Situated in the heart of Old Market, Trinity has been a proud supporter of it’s LGBTQ artists, and the wider community. It shall forever be thus.

As part of our Art of Resistance project, we present the series of photographs above, highlighting moments of protest, celebration and creativity.

Happy LGBTQ History Month.

By Edson Burton, Heritage Curator, Feb 2021

If you have a story of protest, image or artifact you would like to share, please check out our call for content.

Click here for more info about the Art of Resistance Project.

#Resist

In Lockdown in early 2020 we teamed up with some of the most exciting names in Bristol's music scene, from St Paul's Carnival to Mini Rig to Nozstock Festival, to bring online audiences live streams.

In October 2020, our socially-distanced Trinity Presents: Garden Sessions where the first opportunity to welcome audiences back to Trinity to enjoy live music, in person.

“I’ve always known how much I value shared human connection on a dance floor but since March I’ve been trying to get this in other ways, dancing on zoom with friends, dancing to my mini rig with 5 friends in a wood. But tonight I experienced again the incredible wonder of the talented DJs of @bootybass playing tunes and responding to a crowd, feeling my insides vibrate with bass, glancing up and smiling at a stranger as you connect, arms in the air in synchronicity and I cried a little tear of joy. This is the stuff of life, creative shared human experience. My heart is full. Thank you the Trinity Centre creating such a beautiful safe space.” Feedback from audience member Oct 2020

We put together an exciting series of events in a special, Covid-secure outdoor area in Trinity's historic grounds.

We teamed up with some of our favourite artists & Soundsystems for 9 full days sell-out live music & DJ's : Waldo's Gift, Hodge & Danielle, Dubkasm, Ashanti Selah, Young Echo, Sinai Soundsystem, Booty Bass, Bandulu, Sofa Sound, Afrobeat Fridays.

People commented that the space felt magical and like something special that you discover in a hidden corner of a festival.

We're very much looking forward to be able to present our postponed November line-up as soon as lockdown restrictions ease. Keep an eye on our website and social media info and announcements.

#TrinityPresents

#HereforCulture

Trinity was exited to welcome IDLES band to the Centre in January 2021, as part of a socially-distanced film for their single Carcinogenic.

"Venues are at greatest risk because they are mostly small businesses, not interested in profit or investors but in the nourishment of creative, open-minded, critical thinking."

Mark Bowen, IDLES

(NME, Jan 21)

Each band member performs in some of Bristol's most loved grassroots music venues, including The Louisiana, Exchange, The Mother’s Ruin, The Old Duke, and of course The Trinity Centre.

The film was in support of Independent Venues Week that, with support from Music Venues Trust, have been working to raise the profile of grassroots music venues impacted by lockdown restrictions.

Speaking to NME about Independent Venue Week, guitarist Mark Bowen said: “Now more than ever independent musicians and the music industry at large need to unite to keep from being decimated. Between the pandemic and a government who not only don’t care about the future of the arts (especially independence within the arts) but take a pro-active role in its diminishment, independent venues are at greatest risk because they are mostly small businesses, not interested in profit or investors but in the nourishment of creative, open-minded, critical thinking.”

Click here to read the full article in NME.

Image Colin Moody

Art of Resistance is a 2-year project exploring 100 years of social activism, protest, and civil disobedience in Bristol, and the art that underpinned each movement.

We're looking for people who have artifacts or stories they would like to share to help build this picture of Bristol as a city of art and activism.

Whether your #resist story or art relates to Workers Rights, Women’s Equality, Anti-Racism, Anti-Fascism - or something else we haven't thought of - we'd love to hear from you.

In particular, we're really interested if any artwork, including poetry, textiles, posters, banners and ephemera, music and performing arts that were used to support and capture the spirit of different movements throughout the ages.

#GetInvolved

If you have digital material you can upload it here: Art Of Resistance Submission form.

If you have a physical item or would like to discus taking part in an interview to tell your own story, please contact info@trinitybristol.org.uk

Keep up to do with the project and other Trinity news and event sign up to our mailing list here.

The project is funded by The National Lottery Heritage Fund.

The Prime Minister announced a third national lockdown for England beginning 6 January 2021 in an effort to limit the transmission of the COVID-19. Click here to read more about what this means.

The Trinity Centre will remain closed for public events and gatherings until such times as restrictions ease. Trinity has been and will continue to closely monitor Public Health England guidelines in relation to the COVID-19 situation, in order to respond as necessary.

We will be working to adapt and deliver some activities online as part of grant funded projects - including the Government’s Culture Recovery Fund - and will liaise with community partners to make sure we support any coordinated responses to support those most vulnerable during these difficult times.

Ticket holders

We will communicate via our website and mailing lists regarding all cancellations or postponed events. All tickets will be valid for rescheduled dates, however if you would like to request a refund, please do so by contacting our bookings team on info@trinitybristol.org.uk and include the event name, date and the email you used to make the booking. Please note, that it may take time to respond to refund requests.

Hirers

Please contact your Booking Coordinator via email about your planned event to discuss either postponing and rescheduling or cancelling your event.

Advice for the Community

We urge individuals to follow Public Health England guidelines to limit the spread of COVID-19 - do not leave your home or mix with anyone outside your own household unless absolutely necessary.

If you or anyone else in your household are displaying any symptoms of COVID-19 - a high temperature, a new, continuous cough, a loss or change to your sense of smell or taste - get a test as soon as possible and stay at home until you get the result.

If you are unsure or need to check symptoms, visit the NHS COVID-19 Self Assessment.

Trinity has been working to create opportunities for children and young people in our local community of Old Market, The Dings and Lawrence Hill to access to arts and well-being activities during the COVID19 pandemic.

“Many families we support don't have gardens, computers or printers to benefit from online resources many organisations created. It is important to remember about this digital inequality and therefore packs like those prepared by Trinity Centre are particularly valuable. They contain colourful booklets with inspirational ideas ... to cheer up those who can only dream about their own gardens”.

Pat Pinkowska, Community Engagement Officer, Up Our Street

As part of this work we have created two activity packs full of creative ideas, ranging from make your-own Bird Feeders, to singing Lullabies to learning more about Resistance Movements in Bristol - all devised to do in the home.

Working with our community partners including local primary schools and Eastside Community Trust we have delivered over 900 activity packs to local children and young people.

Trinity's Summer and Winter Activity packs are also available as a free download . They have been devised by the Trinity team and designed by Group of 7.

The packs have been made possible thanks to grant funding from Children in Need, Power to Change and Quartet.

©Sham Ahmed

Meet Dr Edson Burton, Working Class Equality Researcher for the Art of Resistance project.

Dr Edson Burton is a historian, writer and curator living in Bristol since 1994.  Old Market, & Edson joined the Trinity staff team in 2010 to lead What’s Your Trinity Story Project, since then he has led the ground breaking Old Market Study Vice & Virtue, Bridges & Heart & Soul projects. He is co-author of What’s Your Trinity Story & Vice & Virtue. He is a regular voice on local and national radio and television.

His areas of interest include the history of Old Market and the transatlantic slave trade. He is co-author of What’s Your Trinity Story, Vice and Virtue and the poetry collection Seasoned.

Edson is also heading up the project as Heritage Curator. Please get in touch with him if you're interested in getting involved with the project.

Click here to read about the other #Resist Researchers.

This poem is from What Words Are Ours? by artist Talia Randall. It was originally live streamed via Zoom and Facebook, Nov 2020 as part of Trinity Presents Online, funded by The Culture Recovery Fund.

Funds have been made available by the Government to support organisations like Trinity to weather the impact of coronavirus and come back even stronger, whilst also providing a much needed arts offer.

What Words Are Ours? was an exciting D/deaf inclusive poetry cabaret performance, featuring BSL interpreter Becky Barry.

Keep an eye out on our website and social media channels for other upcoming performances as part of #CultureRecoveryFund.

#TrinityPresents

#HereForCulture

The Beach is by Stephen Lightbrown, was presented as part of our inclusive cabaret What Words Are Ours? originally live streamed via Zoom and Facebook, Nov 2020 as part of Trinity Presents Online, funded by The Culture Recovery Fund.

Funds have been made available by the Government to support organisations like Trinity to weather the impact of coronavirus and come back even stronger, whilst also providing a much needed arts offer.

What Words Are Ours? was an exciting D/deaf inclusive poetry cabaret performance, featuring BSL interpreter Becky Barry.

Keep an eye out on our website and social media channels for other upcoming performances as part of #CultureRecoveryFund.

#TrinityPresents

#HereForCulture

Uchenna Dance deliver a dance workshop at Trinity in 2018. Photo @Khali Ackford

Trinity is pleased to announce that, as part of the Bristol Dance Futures ‘Dance Connect’ programme, five Bristol-based dance practitioners will be funded to undertake year-long residencies in organisations across the city.

The residencies are an opportunity for practitioners, organisations and communities to collaboratively develop a programme of dance activity. Artists will explore and develop ways that dance can be enjoyed and experienced by new and existing audiences and participants across the city.

'It was great to see such high-quality applications and be part of the selection process with a different perspective from the health sector'

Karen Lloyd, Active Ageing Bristol

To ensure a wide range of voices and perspectives helped select the Dance Connect Residencies, the project's Producer Deborah Baddoo invited Karen Lloyd from Active Ageing Bristol and Zannah Chisolm, Artistic Director and CEO Pavilion Dance South West to sit on the selection panels, alongside members of the Dance Futures steering group including independent artist Deepraj Singh.

With the COVID-19 pandemic likely to exacerbate impacts of pre-existing health conditions, two projects will look at the importance of using dance to improve and support good emotional wellbeing and health:

Lerato Dunn will work will work with Southmead Development Trust and Sirona Care to explore how dance can contribute to the physical and emotional health, with the aim to develop a ‘Dance on Prescription’ model that can support vulnerable people.

Rachel James, who leads Dance For Parkinson's at Trinity, will be working with Fresh Arts to create a high-quality dance programme supporting the recovery of elderly and frail patients, designed to help them to get home quicker.

Trinity will be working with both Lerato and Rachel to programme activity in our role as the Arts & Health Dance Hub for the project.

The following collaborations will see artists connecting with new communities strengthening dance participation beyond the city centre:

Penny Caffrey and Helen Wilson will be collaborating with Filwood Community Centre to create a number of different ‘dance happenings’ to promote a positive sense of place within communities.

Katy Noakes will be working with Knowle West Media Centre explore ways to bridge the gap between street and contemporary dance in Bristol.

Dance Connect is an initiative by Bristol Dance Futures - a consortia of Bristol arts organisations and independent artists, that aims to create a vibrant dance ecology across the city, so people of all ages can engage with high-quality dance.

Dance Connect is supported by funding from Arts Council England

Trinity have been continuing with our phased capital programme during 2020.

Thanks to the flexibility of funders and emergency grant support, we have been able to continue to dedicate resources towards delivery of planned renovation and conservation works.

We have made some much needed access improvements to our well-used Community Garden, installing a ramp and pathway around the garden, so that everyone is able to visit and enjoy the space.

Emma Harvey, CEO said: "The Trinity Garden is an invaluable green space within the locality, particularly right now when getting outside is one of the only things people are able to do. Making it accessible was a key priority for us to make sure physical access is not a barrier to enjoying nature."

Prior to the November 2020 lockdown, Trinity were hosting socially distanced family garden sessions for local people, to encourage people to get outside and learn about gardening and permaculture. The access works will mean that future workshops and sessions will be able to better cater for all needs and will also include the installation of raised beds for people with mobility issues.

“We live on the 7th floor in our flat. I was scared to come as I don t like bees but I love it here now, I can't wait to come back!’”Abdir, age 7 garden workshop participant Summer 2020

Glyn Everett, Trinity Chair of Trustees said; "Making every part of Trinity as accessible as possible to all our community groups and other users has always been a top priority, and I was so pleased and proud of the Trinity team to have achieved this work during Lockdown."

The live capital works phase includes internal renovation works to the Graffiti Room, which was started just prior to the escalation of the global crisis.

The room has been transformed - removing a blocking wall and installing a glass balustrade to reveal the stained glass window and restoring original features. We have installed more suitable flooring and acoustic panels and - most importantly - fixed the heaters in the space so that we will be able to warmly welcome the community back into the space once restrictions begin to ease.

As well as access and restoration, we have also given our downstairs WCs a much needed facelift to make them Covid-Secure for when activities are able to resume.

Our Digs Project to install container units on site has been paused pending the outcome of a revised feasibility study, to inform the capital works programme in response to COVID19. We are liaising with match funder Power to Change as well as the architect team regarding revised timescales.

This latest phase in our capital works programme is being supported with funds secured prior to the pandemic from Power to Change, Nisbet Trust, Derbyshire Environmental Trust, Bristol City Council, private donors and other match funders and emergency funds.

Youth Music's support of Making Tracks, a two year partnership between Trinity, Ace and Basement, means that we are able to reach young people (11-25) across the city to, means that we are able to reach 100's of young people each year and offer music-making opportunities, including 1-2-1 sessions, industry insights with leading artists,  showcase events, leadership skills and much more.

"Working with Trinity has created a platform and safe space for me to share my music, with no judgement... Trinity have made me feel very welcome and introduced me to like-minded people. It's given me a real confidence boost to continue this musical journey. " Esme

Many young people who take part in the project are experiencing challenging circumstances and we have continued to deliver activity throughout he pandemic- find out more here.

We were delighted to be approached by Youth Music for an opportunity to showcase just some of the young people who take part in the project as part of their Winter Music Campaign.

Jasper, Esme and Thomas, all who take engage with the project, recorded  songs to be part of the campaign - and we could not be prouder.

Their videos will be shared by Youth Music across Twitter and Facebook in December, or you can visit our Youtube channel to listen.

This news item was published in December 2020. Please click here for the latest information.

Trinity is operating as a Covid-19 Secure, multi-use venue.This means we are operating in a safe way to ensure that the spread of Covid is minimised with any activity happening on our premises. We will work with hirers to ensure that activities or events are thoroughly risk assessed and running in line with Government Guidelines. Please see below what each of the Tiers implemented by the government will mean for events happening at Trinity.

Tier 3: VERY HIGH ALERT

What can happen:

• Wedding ceremonies & wakes – up to 15ppl
• Group activities for under 18s (including indoor physical activity)
• Rehearsals
• Performances for the purpose of live streaming
• Filming
• Formally organised support groups - up to 15ppl
• Parent and toddler groups
• Capacities will be assessed on a case-by-case basis

What cannot happen:

• Conferences or meetings
• Adult group exercise classes / activities
• Wedding Receptions
• Film screenings or talks
• Live music / club nights
• Any performances with audiences (inc. sharings)
• Private Parties
  
  

Tier 2: HIGH ALERT

What can happen:

• Socially distanced shows or performances where audiences are seated and follow the rule of 6
  - Live music 
  - DJs
  - Theatre
  - Cinema
• Meetings and conferences that are essential, following reduced room capacities and social distancing
• Wedding ceremonies, receptions & wakes - up to 15ppl
• Group activities for under 18s (including indoor physical activity)
• Indoor activity for over 18s (including indoor physical activity) can go ahead subject to social distancing rules - however we recommend against the return of high-risk groups
• Filming
• Rehearsals
• Live Streaming
• Organised outdoor gardening groups (for voluntary, training or education purposes)
• Capacities will be assessed on a case-by-case basis

What cannot happen:

• Conferences or meetings which are not essential, or could be postponed
• Adult group exercise classes / activities for high-risk people
• Wedding ceremonies or receptions over 15ppl
• Club Nights
• Private Parties
  
  

Tier 1: MEDIUM ALERT

What can happen:

• Socially distanced shows or performances where audiences are seated and follow the rule of 6
  - Live Music
  - DJ's
  - Theatre
  - Cinema
• Meetings and conferences, following reduced room capacities and social distancing
• Wedding ceremonies, receptions & wakes - up to 15ppl
• Group activities for under 18s (including indoor physical activity)
• Indoor activity for over 18s (including indoor physical activity) can go ahead subject to social distancing rules
• Filming
• Rehearsals
• Live Streaming
• Organised outdoor gardening groups (for voluntary, training or education purposes)
• All activity / event capacities will be assessed on a case-by-case basis

What cannot happen

• Club Nights
• Private Parties
  
  

For all queries please get in touch by phone 0117 935 1200 or email info@trinitybristol.org.uk before 18th Dec 2020 or on / after 11th January 2021.