Citizens for Culture is ground-breaking initiative bringing together people from across the region to meet with creative practitioners, cultural providers and decision-makers to create a Cultural Plan for the region.

Delivered in with St Pauls Carnival, Citizens In Power and the West of England Combined Authority, the project will host the first region wide Citizens’ Assembly for Culture in 2025.

We caught up with Producer, Anjali Prashar-Savoie and  Project Manager, David Jubb, to ask some key questions about the project - what is it, why we’re running it and what we hope to achieve.

David and Anjali - what is a Citizens Assembly for Culture all about?

A Citizens' Assembly brings people together to learn about and deliberate issues and together, reach conclusions about what they think should happen.

Our project, Citizens for Culture, will invite citizens from areas in the West of England to create a set recommendations for a Cultural Plan for the West of England Combined Authority Region.

Taking place across multiple sessions citizens will explore how creative opportunities can be inclusive, accessible and representative of the many people living across the region. They will immerse themselves in creative and cultural activities, hear from experts who will share their knowledge about creativity and culture and then, working together, develop recommendations for a Cultural Plan to be delivered across three regions in the West of England.

Following the Assembly, citizens will oversee the implementation of the Cultural Plan with support from funders, local authorities, organisations and individuals, all working together to deliver these citizen-led recommendations.

What is the story so far?

"By using this democratic approach we will hope to inform future cultural policies and priorities for the West of England, creating a legacy that will serve as a model for the UK's continually evolving arts and cultural landscape."

The project was created in response to the partners wanting to explore how using a Citizens Assembly model - a deliberative, democratic and people-centred approach - could reimagine what a cultural offer could look like in the South West.

Each partner brings their own skills to the project - St Pauls' Carnival CEO, LaToyah Mcallister-Jones brings her wealth of expertise and experience in leading and facilitating Assemblies.

Using their expertise in citizen-led decision making, Citizens In Power have been securing support for each stage of the project, from the initial research phase in 2022 to the delivery of the final Assembly in 2025 and Trinity's CEO, Emma Harvey, brings over 20yrs of expertise of using arts and culture as a tool for civic participation.

Together, we delivered a research phase for the Assembly, where the principles for the design were shaped by a group of people from across the region, chosen through a random selection process.

Based on these design principles, the Assembly was further developed by people working in the cultural sector. The research phase provided the building blocks for the framework for the planned 2025 Assembly.

Why are you running Citizens for Culture?

The Assembly aims to help shape a regional cultural offer that is relevant, accessible and reflective of diverse voices and perspectives. By co-creating cultural leadership and decision-making with the people who live, work and stay in our region, we hope to build a more democratic approach that will help shape the future direction of culture in the West of England.

What do you mean by “citizens” and “culture”?

When we say citizens, we simply mean the people who live, work or stay in a place.

We feel that the Assembly is best placed to arrive at its practical definition of culture - one that best serves the creation of the regional Cultural Plans.  We want to ensure the people taking part can participate fully and that thoughtful conversations happen that aid in guiding this. By allowing the Assembly process to refine this definition, we hope to ensure that the Cultural Plan has a clear focus and achievable goals, while still acknowledging the richness of cultural diversity across the regions.

"By using this (a Citizens' Assembly model) democratic approach we hope to inform future cultural policies and priorities for the West of England, creating a legacy that will serve as a model for the UK's continually evolving arts and cultural landscape."

How do people get involved?

Citizens will be invited to participate in the Assembly through a sortition process, or democratic lottery, rather than by election or appointment. This ensures that the selection is impartial and includes a wide representation of community voices from across the region.

We're continuing to invite people and organisations working in the cultural sector to help shape plans for the 2025 Assembly.

If this sounds like you, we’d love to hear from you - feel free to get in touch with the Citizens’ Assembly producer, Anjali Prashar-Savoie, at anjali@trinitybristol.org.uk to arrange a chat.

Find out more about Citizens for Culture:

• Read LaToyah McAllister-Jones opinion piece on her experiences of facilitating democratic decision-making in the second part of this series about civic participation

• Read Edson Burton’s opinion piece of why voting matters in the second part of this series about civic participation

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

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).

They will also be joined by GoodGood PleasureSub, a creative collective exploring physical storytelling through multidisciplinary creative platforms. There will also be drawings, prints, zines, t-shirts & other GoodGood goodies for you to tuck into on their stall. Stalls by Tamatha-Ann Lovett and GoodGood PleasureSub and Chipper Leather Co

Club Love socials are open to members and non members. Non members will also have the opportunity to be vetted for Club Love Membership in person at the event.

Club Love are also initiating the KINKY CLOTHES SWAP. Bring all the bits you don’t wear anymore, don’t fit ( we’ve all bought stuff we’ve forgotten to return) or the some beloved items you want to share with someone else. In the spirit of being conscious about fast fashion let’s start a community rotation of all our kinky clothes which gives us the opportunity to revive or reinvent our current Club Love looks.

Everyone is subject to our vibe checks on entry. This is not a cruising event. You will be turned away if we feel your intentions are misaligned or your vibe is off. Low income tickets or free PA tickets available via email clubloveltd@gmail.com.

Everyone is subject to Club love's vibe checks on entry. This is not a cruising event. You will be turned away if we feel your intentions are misaligned or your vibe is off.

Low-income tickets or free PA tickets available via email here.

• No Dress Code
• No under 18's
• Club Love Event Etiquette Applies
• Not a Play Party
• Last entry 7:30pm

Please ensure you visit Club Love's website for event etiquette and guidelines.
Visit here for more info on accessibility and parking.

Also, Bristol’s own (though he renounced his Bristolian roots earlier this year), Charlie Sterling will make an appearance, along with the always captivating Millie McKenzie, adding even more excitement to this spine-chilling, festive night of wrestling.

Expect an adrenaline-fuelled spectacle as SWW brings together a line-up of top-tier wrestlers, each vying for glory and supremacy in the ring. From bone-crushing power slams to awe-inspiring acrobatics, every match guarantees heart-pounding action and intense rivalries. With Trinity as the backdrop, fans can anticipate an immersive experience filled with roaring crowds, dramatic showdowns, and unforgettable moments.

Schedule:
Doors - 5pm
First Bell - 6pm 
End Time - 10:30pm

- Matinee: Doors 2:30pm Show 3:00pm.

- Evening: Doors 7:30pm Show 8:00pm

Attention Humans! This is HENGE. They are not from this world. They bring you music from distant planets. They offer this gift for the edification of humankind… so that eventually our species may put an end to war and set up new homes in space.

Tirikilatops is a collaboration between UK and S. Korean artists and musicians located in the UK. A combination of kimchi beats, pop sensibilities, offbeat lyrics, dayglo colours, hacked keyboards, dada attitudes, forteana and super earworm melodies.

Children over 2 years old will need a ticket for the matinee show.

Evening show: 14+ under 16s to be accompanied by an adult.

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.

Old Market is set to undergo a vibrant take-over this Autumn as the city-centre location becomes host to, Destination Old Market, a programme of public events showcasing the area's cultural and creative scene.

Taking place throughout October to November 2024 we have created a programme that will feature pop-up gigs and performances in secret locations in the area - shining a spotlight on the many artisans, makers and independent businesses based in the area.

"Living in Old Market for nearly a decade has made it feel like a part of me. I love the blend of its buildings, the unique characters, and the deep historical significance it holds for Bristol. My goal is to share with audiences a side of the city that’s often overlooked or taken for granted." - Tom Marshman, Artist

Businesses and shops will transform into DIY venues and will host pop-up performances from some of Bristol's finest live music, experimental sonics sounds & DJs. Line up so far includes Bristol's t l k, Copper Sounds + Sarahsson, Josephine Gyasi and James Storm. Pop up venues so far include pubs, hairdressers and retail shops.

Audiences can delve deep into Old Market's rich contemporary history through a new theatrical promenade performance devised by writer and artist, Edson Burton, in collaboration with artist Tom Marshman. Taking place in locations throughout Old Market, the audiences will uncover the captivating lives and stories that have shaped Bristol's Old Market into one of the city’s most memorable streets.

People can book Destination Old Market events through our website. A £5 deposit is required when booking. This deposit can either be refunded or exchanged for a voucher that can be spent in Old Market business taking part in the Destination Old Market.

Destination Old Market will take place on the following dates:

A Sound Odyssey:

Saturday 12 Oct

Saturday 02 Nov

A Theatrical Promenade

Sunday 13 Oct

Sunday 20 Oct

Sunday 27 Oct

Sunday 03 Nov

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.

Speak Out Workshop - Image Credit: Alastair Brookes

Speak Out was a free creative development programme for young people made possible through funding from the We Move Fund, created by Children in Need and BBC 1XTRA.

As part of the programme rapper/activist MoYah and poet and spoken word artist Sukina Noor delivered a series of workshops for young musicians and poets, offering support with writing and developing music-making skills.  These workshops where primarily aimed for young people who have lived-experience of the refugee and asylum-seeker system.

"As the Speak Out project unfolded, we saw how transformational this was to the participants. I think for me that was one of the most impactful experiences I’ve had working with young people" - Sukina Noor, Speak Out Facilitator

During the workshops the team offered tailored support and one-on-one mentorship to the young people who attended. We connected with translators to work with young people who wished to express themselves through Arabic -and  as a result they where able to use traditional Arabic poetic techniques during the workshops.

The young people involved in the project reflected on how the sessions offered them a safe space where they were able to fully express their identities and be themselves, and channel this into their art. For example, a participant from Brazil who spoke Portuguese was able to express himself better thanks to MoYah's ability to speak Portuguese, something that the young person had not been able to do since arriving in Bristol. Sukina observed the personal growth of the young Brazilian participant due to being able to speak his first language in the sessions, noting, "He could really experiment and let his story be told".

Facilitators, MoYah and Sukina both reflected on the confidence that the young people demonstrated by taking part and performing at Speak Out events, highlighting their creative and personal development throughout the project.

The young people who took part in these Speak Out workshops were given the opportunity to showcase their talents as part of the Bristol Refugee Festival.

In total six young people aged 16-18 took part in eight workshops, facilitated by MoYah and Sukina.

Click here to find out more about Trinity’s programme of events and activities for young people.

Me, way back when

Emma Harvey, Trinity CEO, shares her opinions on the underrepresentation of people from working class backgrounds in the arts

The cultural sector in the UK falls short on various measures of diversity and, starkly, fewer than one in 10 arts workers come from working-class backgrounds.

Being one of those one in 10, I can testify that people who sound and behave like me, or who share my cultural references are a rare species, particularly in leadership roles. One key reason for this is that success in the arts is often determined by access to established networks and the ability to leverage those connections to progress ideas, secure paid work and obtain funding.

One of my first funding applications for Trinity way back when was met with a rapturous response from the funder, who said they were excited to include us in their portfolio, but they wouldn’t be giving us any actual money. It was my first lesson in a long series of lessons: for Trinity – and me – to succeed, I would have to think differently about the game I was playing.

Over my time at Trinity, we’ve had to build trust with funders, proving that we are a ‘safe pair of hands’. This isn’t easy when you’re an uncompromising Essex bird who didn’t go to finishing school and (as my friend’s daughter once remarked), "looks like a teenager and talks like a young adult." While I took this as a compliment, it’s challenging when people expect leaders to look, sound and behave in a certain way. Like some wheeler-dealer Del Boy of the Bristol arts scene, it may sound sus to some when I say it's all cushty.

One way to build that credibility is by ensuring match funding is already on the table. It’s a bit of a chicken-and-egg situation: many funders only want to join the party once it’s in full swing – few want to be the first to risk bringing the vibes. Match funding from independent funders is critical to securing larger investment, particularly capital. The journey to raise all the funds needed to deliver community arts programmes or ambitious capital plans often feels like a convoluted, muddled process that relies as much on luck, sheer hard work and stubborn persistence as it does on strategy – it’s like a form of alchemy with plenty of nos along the way.

Uncredibles have to build our reputation and networks over a considerable number of years, seeing through many political cycles where officers and leaders change, meaning you have to start the conversation all over again. This at least is slightly more straight-forward in “Bristol village”, where the arts sector is relatively static. So, if like me you have the staying power then, over time, you can build trust and a track record. To this end, we’ve been hugely helped by independent funders who have placed their faith in our grand designs. Local funders like Nisbet Trust, a family charity that has been instrumental in advancing our programmes for children and young people, as well as our bold if not daunting work to save Jacobs Wells Baths. Also national funders like Historic England, who have also supported us with repairs on both of our publicly owned buildings, helping us build the match funds needed to unlock larger grant support from Lottery and other public bodies.

Despite the wins for the city, the narrative is so often negative. Instead of celebrating that Jacobs Wells Baths as a publicly owned building has been saved from commercial disposal it’s, "How did they get given that building?". Instead of joy in the building a cultural alliance that brings arts into three primary schools, the question is, “Why are they getting that funding?" And me? Well, I’m often described to my face as “a force of nature”, “someone who gets things done” and “a blunt tool”. It makes one wonder what people say when I’m not in the room. Maybe that’s why, even after all this time, I still find myself as the gatecrasher at one culture sector network event or the other.

This stuff only reinforces the purpose of Trinity’s work to democratise the arts and level our cultural worth. When we ask questions or make statements like these, what we’re really saying that the efforts of working-class people don’t matter because – whether by intent, complacency, or design – ultimately, we’re playing a game that we were never supposed to be on the board for, let alone have a chance of winning at.

That’s why people need to sit at the heart of cultural decision-making. Decisions about who gets what and where shouldn’t be made through closed-door deals by politicians, officers, cultural leaders and CEOs. Groups of people who may not live or work in the area, who don’t have real skin in the game or who like me (shock horror) will never ever ever be a real Bristolian.

Power like this should be placed with citizens.

Because when we talk about culture, what we’re really talking about who gets to express themselves freely, whose voices get heard and whose stories get told. That’s why I do what I do at Trinity. I want more voices, more diversity and more perspectives to bubble to the surface. And that means not just a room full of people who look different and all nod in agreement. I want people who challenge one other, who hold diametrically opposing views, from different faiths and conflicting political leanings. A bunch of folk who can come together and find common ground through shared values, like freedom of expression, respect and that culture, when done right, can be good for all of us – for our health, socially and economically. If we’re able to that, then we might just find a way to build a collective UK cultural identity that speaks of all of us.

So, that’s my story. Tell it, or tell someone else's. It’s up to you, not me after all.

This is an opinon piece by Emma Harvey, CEO

Foxy Brown, directed by Jack Hill, stars Pam Grier as a voluptuous vigilante who takes a job as a high-class prostitute to get revenge on the mobsters who murdered her boyfriend.

A night to remember with a warm fire, mulled wine and snacks.. Stick around for an informal post screening discussion with a selection of black female and non binary guests.

Book now as tickets are limited.

Afrika Eye is South West of England’s biggest celebration of African cinema and culture. We present the 19th edition of the festival this year with screenings from autumn to spring with a programme featuring new and classic films, spoken word, music at city-wide venues! See the full programme here.

About Trinity Presents:

This event is part of Trinity Presents - our in-house programme of music and performance, bringing world-class artists and emerging talent to inner-city audiences.

Coffy (directed by Jack Hill) tells a story how a sexy Black nurse takes vigilante justice against inner-city drug dealers after her sister becomes their latest victim.

A night to remember with a warm fire, mulled wine and snacks.. Stick around for an informal post screening discussion with a selection of black female and non binary guest around the fire (if the weather holds out for us).

Book now as tickets are limited.

See Afrika Eye's 2024 programme at www.afrikaeye.org.uk.

Afrika Eye is South West of England’s biggest celebration of African cinema and culture. We present the 19th edition of the festival this year with screenings from autumn to spring with a programme featuring new and classic films, spoken word, music at city-wide venues! See the full programme here.

About Trinity Presents:

This event is part of Trinity Presents - our in-house programme of music and performance, bringing world-class artists and emerging talent to inner-city audiences.

Mandala Theatre Company presents Seed Guardians, a powerful new play blending storytelling, innovative staging, and social justice. This play highlights seed guardianship as well as the struggle for food sovereignty, both globally and in the UK, where millions rely on food banks to survive.

Show Times

1pm - Book Tickets

7pm - Book Tickets

More Info

Mandala Theatre Company, based in Oxford, is a trailblazing organization committed to utilizing the power of storytelling and performing arts to bring about positive social change. They are focused on creating work with artists from the Global Majority and White working-class backgrounds.

About Trinity Presents:

This event is part of Trinity Presents - our in-house programme of music and performance, bringing world-class artists and emerging talent to inner-city audiences.

Ingrained Instincts - Sangoma Records
James West - Nano Records
Rama v Lurk - OOOD/Iboga - Planet Shroom/Zero1
Sean Shift - Planet Shroom

Illumashroom Lasers, Lights & Projections
InOrbit & Geomatrix Design Decor
Crystal Clear L-Acoustics rig

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.

We'd like to apologies to all our friends who had already purchased tickets, and our extended team who have worked on these shows. [...] We promise we'll be back as soon as we can. We are so sorry.

Love from HD"