In Autumn 2024 we celebrated the rich creativity in Old Market through a programme of free creative happenings throughout the inner city suburb.

Amplifying the wide-ranging grassroots musicians in Bristol we took over shops and restaurants transforming them into pop-up DIY music venues hosting the likes of d Young Echo, TLK, EJ:AKIN and Rider Shafique and Sarahsson.

Audiences also explored Old Markets history through a promenade performance devised by writer Edson Burton and artist Tom Marshman. The performance uncovered the hidden stories of residents from Old Market’s past as well as exploring the sites and sounds of the area.

In addition to celebrating the rich cultural offerings in Old Market the programme of work intended to help encourage new audiences to Old Market – an often overlooked suburb of Bristol. Over 90% of audiences who came along to one of the free events shared that they were visiting the area specifically for the show or performance – and 55% shared that having come along to an event meant they were more likely to visit Old Market in the future.

In total over 700 audience members attended one or more of the events as part of Destination Old Market. As part of the programme we created paid opportunities for 48 musicians, 5 actors and 15 creative practitioners.

About Destination Old Market

Destination Old Market is produced by Trinity Community Arts and is part of the City Centre and High Streets Culture and Events Programme, funded by Bristol City Council and the West of England Combined Authority. The initiative aims to attract more visitors to the City Centre, boosting local businesses and the economy.

What to Bring:

A warm blanket or shawl for comfort during meditation and performances.A sacred item for the community altar (optional).Water from your local spring, well, or tap.Your open heart and a willingness to journey inward.

Arrival:

We recomend you arrive at 2:30pm to get settled into the space and drink some wild teas. The ritual begins at 3pm. Doors will close as the ritual begins.

Image credit: Amy Fern

As we move towards the Assembly’s delivery in 2025, here’s a look back at what we achieved in the second half of 2024.

Outreach and Partnerships

Building strong connections has been central to our progress. Since the project’s launch, we’ve worked to establish a wide-reaching network of partners, supporters, and collaborators - from cultural organisations, to community groups, to political leaders.

Over the last six months, we’ve:

• Engaged with more than 100 organisations across the cultural sector, led by our Assembly Producer, who joined us in May.
• Hosted online information sessions in August to connect with cultural organisations and individuals interested in becoming Assembly Associates.
• Secured £100,000 in funding from the Paul Hamlyn Foundation, with additional funding prospects in development.

Designing the Assembly

Creating a representative and impactful Citizens’ Assembly remains central to our work. The Assembly’s design principles have been shaped through collaboration with citizens, community partners, and cultural organisations, with a focus on accessibility and inclusion.

Key steps in the design process include:

• Developing a detailed sortition process in partnership with the Sortition Foundation to recruit a diverse and representative group of Assembly participants.
• Complementing this recruitment process with targeted outreach to historically underrepresented groups, including working-class citizens, young people, and rural communities.

Adjusting the Timeline

The Assembly is now scheduled to take place in autumn 2025, a shift from the original spring timeline. This adjustment ensures we can brief the region’s incoming mayor on the initiative after the spring elections, securing their full support.

Meanwhile, we’ve begun public engagement through events like the Trinity AGM and Speak Out with Young People. These initial conversations have helped develop provocations that will shape the Assembly’s focus on accessibility and inclusion.

What’s Next?

As we move into the next phase of Citizens for Culture, we’re committed to building a representative Assembly and developing an actionable Cultural Delivery Plan. With strong regional collaboration and growing support from funders, the project is positioned to influence cultural planning and governance locally and nationally.

In the comings months, we’ll be:

• Launching a public awareness campaign to engage communities across the region.
• Hosting summer festival events to spark conversations around ‘what culture means to me.’
• Preparing for the Assembly’s delivery in autumn 2025.

We’re excited to set the stage for a more inclusive and democratic cultural future in the West of England.

Interested in finding out more?

• Explore the Citizens for Culture website
• Read Martha King's thoughts on redesigning leadership for a more equitable future

About Citizens for Culture

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

The workshops are designed for all levels - from beginner to advanced.

Beginners will be able to get the right knowledge from instructors who have taught for years in different countries, but above all, they will understand all the techniques and tips necessary to get ready for the world of dance.

More info here

Featuring a huge effects show throughout the event with dancers, performers, bubbles, festival sized confetti blasts, multi coloured lasers and lighting, parachute games, giant balloons, licensed bar and face painting.

All events sell out in advance so please book early to avoid disappointment.

1st session: 1-3pm

2nd session: 4-6pm

Please note this is a standing event, accessible seating is available

Last entry 2 hours before curfew

Venue levy: Trinity has introduced a £1 Restoration Levy on every event ticket sold. This income will be used to create a dedicated fund for critical building works that will protect and maintain the Trinity Centre building and grounds.

They were formed by brothers Jan and Hamilton Wilkinson in 2001 along with Mathew Wood on drums and Martin Noble on guitar. Releasing their debut album “The Decline Of” in 2003 on Rough trade records, the band garnered a legendary live reputation as well as much critical and commercial success. 2022 saw Sea power at the peak of their creativity releasing the album “Everything was forever” which also included songs originally used in the Disco Elysium soundtrack. It received much praise and found its way on to many top albums.

+ support: White Magic // Whitelands // OUR GIRL

19:00: Doors

20:30: Last entry

23:00: Curfew

Please note this is a standing event, accessible seating is available

Venue levy: Trinity has introduced a £1 Restoration Levy on every event ticket sold. This income will be used to create a dedicated fund for critical building works that will protect and maintain the Trinity Centre building and grounds.

The rhythm section consists of bassist Nick Fyffe and the Australian-born drummer Damon Wilson.

+ support: Sam Palladio

19:00: Doors

20:30: Last entry

23:00: Curfew

Please note this is a standing event, accessible seating is available.

Venue levy: Trinity has introduced a £1 Restoration Levy on every event ticket sold. This income will be used to create a dedicated fund for critical building works that will protect and maintain the Trinity Centre building and grounds.

Heritage Talks, Heart & Soul, credit Khali Ackford

This summer, we hosted a series of Citizens for Culture online information sessions as part of our ongoing journey toward the UK’s first regional Citizens’ Assembly for culture, set to take place in 2025.

The sessions, held via Zoom, provided an opportunity to learn about the Citizens’ Assembly, ask questions, and share ideas that would ultimately shape the assembly itself. Hosted by key project partners, including LaToyah McAllister-Jones from St Paul’s Carnival, David Jubb of Citizens in Power and Emma Harvey from Trinity, the sessions provided an open space to discuss and understand how democratic tools can shape and impact the cultural sector, and how they might address challenges that the sector faces.
Across three engaging sessions, participants explored the concept of Citizens’ Assemblies, the potential impact on cultural decision-making, and how individuals and organisations in the West of England can get involved.

Each session covered a different topic. LaToyah McAllister-Jones offered an in-depth look at the assembly’s design, addressing questions about its structure and objectives. David Jubb highlighted the strategic potential of the assembly to impact the region’s cultural ecosystem, emphasising the roles of key stakeholders. Emma Harvey led a discussion on potential questions the assembly might tackle. These discussions sparked conversations and provided a space to reflect on how different people can play a part in this project.

We want to extend a thank you to everyone who joined us for these sessions. Your contributions have shaped the next steps of Citizens for Culture.

We’re now looking for more individuals and organisations in the West of England to become associates with Citizens for Culture. Associates will play a key role in guiding the Assembly, ensuring it reflects the region’s diverse voices and that its outcomes shape the cultural sector for the better.

Head over to the Citizens for Culture website, where you’ll find more ways to get involved, including opportunities to submit evidence, participate in workshops, and stay updated on our progress.

Interested in finding out more?

• Read our six month look back at Citizens for Culture
• Visit the Citizens for Culture website
• Become a Citizens for Culture Associate

About Citizens for Culture

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

Line up:

Gonzi, Bish and some sick support...

You know what they are about.

Please note this is a standing event, accessible seating is available.

Last entry: 2 hours before curfew

Venue levy: Trinity has introduced a £1 Restoration Levy on every event ticket sold. This income will be used to create a dedicated fund for critical building works that will protect and maintain the Trinity Centre building and grounds.

They have non other than the mighty King Original Sound system wheeling their boxes to power TID.  They will be flinging down selection throughout the night with Sir Spyro selecting Footsie and Jah Model hosting and Ras D controlling.  Joining them with be the incredible live dub show from Kibir la Amlak who's been blowing minds around the globe with his deep vibration and on the fly mixes.  Our very special guest is the legendary Dub Judah who has been pivotal in the UK dub scene and has inspired generations with his mystical and unique dub sound.

Earlybirds are now on sale, this is the right way to kick start the new year.  See you in the arena.

Please note this is a standing event, accessible seating is available.

Last entry: 2 hours before curfew

Venue levy: Trinity has introduced a £1 Restoration Levy on every event ticket sold. This income will be used to create a dedicated fund for critical building works that will protect and maintain the Trinity Centre building and grounds.

There will be latin and ballroom dancing as well as salsa, tango and fun line dances. There will be a warm up class at 1pm where you'll have a chance to learn the steps. You don't need to bring a partner. Tea and cake is included in the price.

How to get involved

This event is open to beginners as well as experienced dancers from Bristol and beyond, especially LGBTQ+ dancers from all cultural backgrounds, their friends, allies and supporters. Please wear something you feel comfortable moving in.

About Bristol Equality Dance

Bristol Equality Dance was set up in 2022 by Norma Daykin, a qualified dance teacher based in Bristol who has for over 20 years offered inclusive practice for all members of the community groups including LGBTQ+ people, older people, people with disabilities and refugees. In 2022 Norma received a community award from the UK Equality Dance Council for her long services to the LGBTQ+ dance community. Jacky Logan is a well-established London DJ who cofounded the Pink Jukebox Dance Club with Ralph Schiller. In 2021 Jacky was awarded a British Empire Medal for her services to same-sex ballroom dancing.

Through Citizens for Culture, we are creating the opportunity for people across the West of England to express their views to help shape an inclusive cultural plan for the region.

As we shape up plans for a 2025 Assembly, we are connecting with some of the people who have been part of the journey so far to ask them how they are exploring inclusive decision-making processes.

Knowle West Media Centre (KWMC), a Bristol-based arts and technology organisation, is a prime example of reimagining leadership and governance. Their commitment to creating fair and thriving neighbourhoods has led them to adopt more equitable and democratic practices.

In this piece, Martha King, co-director KWMC, shares their reflections on how the Bristol based arts organisation are embracing different ways of ‘organising’.

Martha King, Creative Co-Director, Knowle West Media Centre (KWMC)

KWMC is an arts and tech organisation in Bristol. Our mission is to ‘make fair and thriving neighbourhoods together, with arts, tech and care’. We believe in empowering communities and fostering non-hierarchical spaces for change making.

KWMC started in 1996. Back then it was all about democratising access to camera technology and supporting young people to tell their own stories. Now, we work with people of all ages, both locally and beyond, to imagine and co-create equitable futures through arts, technology, and collaborative making.

Being place-based, we want our organisational structure to reflect our commitment to inclusivity and non-hierarchical collaboration. This Easter, with the retirement of our founder-director, Carolyn Hassan, we saw an opportunity to re-evaluate leadership and explore new models of organising. We worked with Practical Governance Collective who helped us transition from a single CEO model to two co-directors as a step towards more distributed leadership.

Our journey towards more distributed leadership ….

During the pandemic, we connected with cooperative Outlandish, who supported our staff to use methods from Sociocracy, a values-based governance system, to embed consent-based decision-making within KWMC.

Sociocracy’s ‘circles’ method provides an easy-to-follow process where people bring forward proposals. All voices can be heard and decisions are made based on a process of iteration and consent, applying the notion of ‘good enough for now, safe enough to try’.

We support staff to use these tools through coaching and training so they can regularly develop these skills. We see coaching as a way of enabling staff, community, partners and artists to find their own solutions and assume leadership in relation to goals.

Our team of 30 is currently using Theory U, a systemic change method, to develop a refreshed collective vision. Through active listening and co-creation, we're forging a future built on shared understanding. This work is drawing on methods and approaches from the Clore Leadership Systemic change programme that I attended earlier this year.

Looking Ahead: Experimentation and Collaboration

There are many examples of good practices of organisations who are using alternative modes of organising. However, as the recent Arts Professional article highlighted, it is still not common for arts organisations to adopt non-hierarchical structures and use models such as Sociocracy. We are ready to go on this journey.

We are mindful, however, to make sure we don’t get too caught up on internal organising at the expense of delivering our activities. We are aware we need to keep thinking about how we can increase representation of our local community and other stakeholders at different levels of decision-making, inspired by models of Citizens’ Assemblies and the adoption of citizen juries by places like Birmingham Museums Trust.

At KWMC we are excited to go further towards more radical ways of organising that match our co-creating practices and are ready to experiment, learn and share with others.

Connecting and Sharing

KWMC are keen to connect with others doing similar things and are currently in conversation with FaCE about co-producing some talks that share inspirational practice in this field. Watch this space for more developments and feel free to reach out for a conversation: martha.king@kwmc.org.uk

Further Resources:

• Find out more about ‘Teal’ or self-managed organisations from ‘Reinventing Organisations’ by Frédéric Laloux.
• There are useful tips on the ‘Sociocracy for all’ website on setting up ‘circles’ and using consent based decision making.
• Dark Matter Labs blogs about organising beyond the rules.

Interested in finding out more?

Email Imogen@trinitybristol.org.uk to join our Citizens For Culture mailing list

About Citizens for Culture

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

Image by Alistair Brookes

Historic England has awarded a grant of £89,743 to the Grade II listed Jacobs Wells Baths in Bristol, providing a further boost to secure the future of this important Victorian building.

The funding will support urgent repairs to the south studio wing, releasing the space for temporary community use while the wider restoration plans progress.

The work will include the restoration of the roof lantern, repairs to the chimney, roof supports, and gutters, and essential masonry work.

The south wing once housed the women’s warm baths. It is matched by another single-story wing on the north side which housed the men’s warm baths.

Comments

Ross Simmonds, South West Regional Director at Historic England, said: "Jacobs Wells Baths is a remarkable example of Victorian civic architecture that tells an important story about public health and community life in Bristol. This grant represents another vital step in breathing new life into this much-loved building, ensuring it can once again serve as a vibrant community asset."

Emma Harvey, CEO of Trinity Community Arts, said: "This funding is more welcome news for Jacobs Wells Baths. These essential repairs will not only protect the building's historic fabric but will help us create a temporary community hub in the south wing. This space will become crucial for engaging local residents and stakeholders as we develop our wider vision for the building's future."

Carla Denyer, MP for Bristol Central, said: “Jacobs Wells Baths is an incredible historic building and I’ve been delighted to watch the progress as it has been restored for the community to use.

“This grant will play a vital role in ensuring that the Baths can become a thriving community hub, and I can’t wait to see the outcome of the restoration.”

This is the second Historic England repair grant to support the Saving Jacobs Wells project, which aims to transform the baths into a multi-purpose community, civic arts, and heritage hub. A grant of £57,800 in 2024 funded emergency works to prevent water getting into the building.

History

Built in 1889 to the designs of City Surveyor Josiah Thomas, the Northern Renaissance Revival style building features distinctive local red brick with buff terracotta dressings. The baths originally served Bristol residents with both swimming facilities and warm baths, fed by the natural springs of Jacob's Well on Brandon Hill. The building was listed at Grade II in 1977.

Paul Stephenson - Image Credit: Khali Ackford

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

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

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

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

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

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

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

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

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

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

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

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

Tribute written by Dr Edson Burton

Line up:

- Skee Mask + Neffa T

- Beatrice M. & Om Unit

- Rishi

Powered by Firmly Rooted

Please note this is a standing event, accessible seating is available.

Last entry: 2 hours before curfew

Venue levy: Trinity is introducing a £1 Restoration Levy on every event ticket sold. This income will be used to create a dedicated fund for critical building works that will protect and maintain the Trinity Centre building and grounds.