Photo Credit: Alastair Brookes

The momentum to restore Jacobs Wells Baths, Hotwells, Bristol, has seen a significant boost with the unveiling of a newly installed artwork on the front of the building as part of a Fundraiser to raise funds to repair and restore the Grade II listed former dance centre.

The artwork, a bespoke pen and ink drawing by Bristol-based artist Amy Hutchings and supported by Anna Haydock-Wilson, features words shared by members of the Hotwells community, gathered from a community consultation led by Trinity Community Arts as part of our mission to restore and reopen the building.  suppor

The artwork features as a reward for the Jacobs Wells Fundraiser that we have launched on the Bristol based Fund Surfer platform.

We are calling for Bristol residents to give what they can to help us reach a £5,000 fundraising target. These funds will help towards crucial costs as part of the current investigations and identified works.  People can donate via the Bristol based Fund Surfer platform.

“It’s great to see this exciting progress after the disappointment and uncertainty surrounding the restoration of Jacobs Wells Baths. The new artwork demonstrates how much this Grade II listed building means to the local community,...any contributions will be vital for achieving the vision of bringing the site back into use as a community arts hub, building on the 35-year Community Asset Transfer lease which we awarded back in July.”

Councillor Craig Cheney, Deputy Mayor for Finance, Governance, Performance, and Culture

Amy is not the first renowned artist to put their name to the appeal to save the building -  earlier this year esteemed actress Miriam Margolyes shared a heartfelt video outing the importance of community spaces such as Jacobs Wells Baths, and encouraging people to get involved and support the drive to safeguard the building and re-open the space once more.

Trinity, alongside local councillors, residents and Hotwells and Clifton Community Association, have been leading the project to restore the building since the news in Jan 2023 that the former dance hub was at risk of disposal by Bristol City Council.

Since then, the Council's CAT Group announced its decision to offer Trinity Community Arts, a registered charity, a 35-year CAT lease, subject to receipt of a satisfactory business plan. We also received a six-month occupational license during the transfer phase, to enable Trinity to undertake a detailed series of specialist surveys, funded by the Bristol-based Nisbet Trust and to undertake emergency works to halt any further damage to the roof due to water ingress.

We have secured further funding from the Architectural Heritage Fund, Sylvia Waddilove Foundation UK and others - aimed at matching the committed funding from the Nisbet Trust to support the development phase and investigations to understand the scope of work needed to restore and reopen Jacobs Wells Baths.

Emma Harvey, CEO Trinity leading on the Jacobs Wells Baths recovery project said; “We often stroll past boarded up buildings like this, imagining how they could be put to good use. The community have long campaigned to save this space and want to see it brought back into use for public benefit. That’s why we’re working hard to secure funds to restore this amazing space. Anyone wanting to support this transformative journey can donate via our Fundsurfer appeal to help us reach our target."

Support the Fundsurfer and grab your own Jacobs Wells artwork

Dance workshop for primary aged children at Trinity. Photo credit: KoLAB Studios

Earlier this year Trinity was awarded a Tech Makers and Maintainers grant from Power to Change, which enabled us to look at ways in which we could utilise our Customer/Constituency Relationship Manager (CRM) to better collect and report upon data. The grant allowed us to take the time to think about how this work connects with our wider commitment to understanding people's cultural journeys.

Following the publication of our own ‘Cultural Confidence Scale’, we have connected with two universities to test this scale and to create the technology to collect and process the data we need to demonstrate the impact of Trinity’s work.

We caught up with Dr Astrid Breel of Bath Spa University; Professor Iain Gilchrist of Bristol University, and member of the MyWorld project team; Trinity’s Emma Harvey and Sarah Bentley to find out more about our Cultural Confidence scale and how community tech will be helping us to ‘Tell Our Story’.

Unpacking Cultural Confidence – Emma Harvey, CEO Trinity Community Arts

“Trinity’s Cultural Confidence Scale is a theory of change that has been developed in response to our desire to understand how we can better tell the story of an individual's journey in engaging with culture and creativity at Trinity. It is the idea that we (as consumers of culture) start our journey in an unfamiliar place to gradually building confidence through increased experiences, within familiar settings, and then move into unfamiliar settings, to then get to what I would say is the kind of peak of our Cultural Confidence Scale, which is what we hope to be - autonomous free cultural consumer. To go where we choose, consume what we want to choose, and that we are sufficiently aware and conscious enough and confident enough to be able to do those things.

A lot of our work, particularly around some of our children and young people's programmes or our targeted community work, is grant-funded. We are then having to measure against a separate set of outcomes or outputs, so that you can attribute some of those outcomes, for example Health, to coming and taking part in the arts. These to us are secondary measures to the actual primary measure of people coming and just having a rich, exciting cultural experience together. What value does that in and of itself have that's intrinsic, that we accept that arts and culture is good for us? There's a lot of academic reports to that degree. But for us, the question is how can we then understand that cultural journey a little bit more clearly, that may also include health and wellbeing outcomes and learning outcomes and various other outcomes.”

Testing the Cultural Confidence Scale - Dr Astrid Breel, Bath Spa University

“I am the Impact Research Fellow at Bath Spa University, and I am interested in understanding how people make meaning out of their experiences and find value in things like cultural or arts experiences.

I work in a community-led way that is in equal partnership with stakeholders and will start by thinking through together what are the different kinds of impacts and values that Trinity's work has? What does it mean to people? What did they get out of it? And how can we talk about that kind of stuff better, and to do this in a way that is not reductive - as it can be if we used metrics and value systems that already exist.

Within Trinity’s Cultural Confidence Scale we will be thinking with the community to see how they see themselves within the Scale. We will be exploring ways in which we can ask people good questions, in order for them to be able to share part of their reflection on their experiences with us so that we can better understand their journeys and how they find value in their journeys at Trinity.

The other element of that is thinking through the kind of more practical impact and evaluation strategies that exist at Trinity so that we can basically tell better stories in a way that is both rigorous because it's based on people's experiences, but more complex and nuanced than potentially some of the existing evaluation methods that currently exist and that are off the shelf”

Neuropsychology: How culture impacts our mental lives – Professor Iain Gilchrist, Bristol University

“I'm Professor of Neuropsychology at the University of Bristol. Neuropsychology is the a scientific endeavour to understand our mental lives. Understanding our mental lives is embedded in the actual function of the brain. We want to understand how your brain leads you to have the experiences you have - and that includes really complex experiences like cultural experiences, like going to an event at Trinity or being engaged in Trinity in some way or other, to understand what that does to our mental lives and also indirectly what that does to our minds and brains.

What is interesting about this project is that Trinity itself has the Cultural Confidence Scale – a well-worked out and quite sophisticated framework for understanding people's cultural journeys. Trinity also has this amazing data that you collect anyway, and an opportunity and an openness to collecting more data in a richer way in a more interconnected way. I'm really interested in being part of that discussion with all the stakeholders broadly – as I think there is  a real opportunity,  in the long term to open the possibility of helping people understand their cultural journey;  help Trinity to map those  journeys; and help Trinity and other stakeholders support individuals and groups of individuals who may not know where the culture journey goes next.”

Connecting the dots: creating tech that works for organisations, not organisations that work for tech- Sarah Bentley, Communications and Development Manager, Trinity Community Arts

“As an organisation, we have utilised ‘Community Tech’ - that is technology that is community driven or community-led–not off-the-shelf software or subscription models.

We have always been interested in having tech that is driven by our organisational needs - that can be developed in a way that responds to what we need. We started this year with a grant for Power to Change to maintain our Open-Source CRM. Our CRM, is based on CiviCRM, a web-based suite of internationalised open-source software for constituency relationship management that falls under the broad rubric of customer relationship management. To undertake work to help us maximise the system's ability to both gather and report upon data. We have ended the year being able to connect the dots between our Cultural Confidence Scale and the software we use to gather data in a way that is both meaningful and responsive to – not just what we need but other grassroots organisations and smaller charities – all of which, like us, have to process data for various stakeholders.

This processing of data, both in its collection and end reporting, is time-consuming. We live in a data-driven world, and we feel that if we can add value to the data through our Scale and also create affordable tools for people to collect this data, we are adding value not just our work but to the wider cultural sector.”

Our journey continues to evolve, and we will keep updating our findings via blogs and social media.  Read our blogs so far:

• Reflections on a year of 'Open Working'

• Understory mapping: 'community connectiveness'

• Exploring Cultural Confidence and its impact

• Creating a Citizens' Assembly for Culture

Trinity's Annual AGM, one of the many events in which we share data with stakeholders

At the start of 2023, Trinity  was awarded a Maker and Maintainers grant from Power to Change, which kicked started a transformative journey in our open-source development.

"For me Community Tech is all about tech that is led by our organisation as opposed to tech that leads our organisation" Sarah Bentley

This blog post, by Development and Communications Manager, Sarah Bentley, reflects on the lessons learnt and the evolution of our approach to Community Tech and Free and Open Source Software (FOSS).

Vision for Community Tech and FOSS: Our vision was to use FOSS to enable efficient data management and reporting. We collect data across a wide-range systems and platforms, from ticket updates to promoter reports, audience numbers for annual reports, to impact statistics. Our goal was not only to streamline our own processes but also to create accessible tech solutions for grassroots and smaller organisations.

Open Working and Transparency: As part of the grant, I participated in an Open Working course, this emphasised the importance of transparency in our steps and work. This approach complemented our existing Working Group model and allowed us to communicate our vision for Community Tech and FOSS both internally and externally.

Time for Reflection: The grant provided a valuable opportunity for introspection. In my multifaceted role, which I describe as 'money in and stories out,' I rarely have the chance to consider the bigger picture. As a Maker and Maintainer, I delved into how Community Tech and our Tech Makers project aligned with our broader initiatives, specifically how we can communicate why we choose FOSS over over 'off-the-shelf systems' or platforms like Google Forms.

Engagement with FOSS Community: Dedicated time with the FOSS community revealed that our efforts with CIVICRM hadn't gone unnoticed. People shared our interest in building solutions through CIVI, leading us to support a research project within CIVI on real-time data reporting. Engagements included community meet-ups, connections with charity/grassroots communities, and presentations at institutions like Bristol University.

Democratising Data: In my role as the data processor and visualiser, I realised the significance of empowering communities with data ownership. Sharing our processes resonated with others contemplating similar approaches. The focus shifted towards making data more democratic, placing power in the hands of the people rather than businesses' with differing values.

Our tech journey continues to evolve and we will keep updating our findings via blogs and social media.  Read more about how we are engaging in community tech solutions:

• Reflections on a year of 'Open Working'
• Understory Mapping'.

Understory Workshop. Photo credit: Alastair Brookes/KoLAB Studios

In Oct 2023 we collaborated with Onion Collective to deliver 'Understory' - an interactive workshop in which participants collectively create a digital map of social connections within the local community. The workshop, which took around 1.5hrs, was hosted by Georgie from Onion Collective.

We invited a wide range of local cross-sector organisations to participate in the workshop. Organisations represented ranged from those who are known to us to many had not connected to Trinity but are working within the local community. These included statutory services, Grassroots and DIY networks as well as community activists who are working in areas including health, activism, human rights and education.

During the workshop, the group answered a series of questions that created, in real-time, an interactive map projected throughout the session. The map, accessible to organisations who have taken part in the workshop will be an invaluable tool to help inform our plans as we go forward, and for all the other organisations who participated too.

Following the session, we hosted an informal networking opportunity which allowed people, many of whom had not connected with each other before, to meet and connect. In total, 63 people took part representing 38 organisations.

We will be hosting a follow-up for anyone who came along and people who were named on the map (and did not attend) so they can add to and build up the network.

This workshop is part of our wider commitment to working with our local community to create a relevant and responsive cultural offer. You can find out more about this vision here.

Kabaka Pyramid 2023. Photo credit: Khali Ackford

We are 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, a Grade II* Listed building and the grounds.

In Sept 2023, Music Venue Trust announced the UK is set to lose 10% of its independent venues by the end of the year. Like many grassroots music venues and arts centres across the country, Trinity faces unprecedented challenges due to the cost-of-living crisis, rising overheads and ongoing upkeep as a Grade II* Listed converted former-church.

The Trinity Centre is a space for a diverse multidisciplinary arts programme for over 73,000 people every year. Since the building has been in our guardianship, we have raised and spent over £3m in its restoration, to improve accessibility, maintain and enhance this vital community asset and invest in green energy solutions to reduce our carbon footprint.

As a registered charity, this Restoration Levy will be treated as a restricted heritage fund that will be dedicated to fulfilling our charitable mission, to preserve, protect and improve for the public benefit the Trinity Centre, formerly the Holy Trinity Church, and promote the heritage of this building.

Our aim is to continue to provide a vibrant hub where today’s and tomorrow's generations can find joy in unforgettable concerts, electrifying club nights, community gatherings and immersive, impactful experiences. Your support through the Restoration Levy will help us to continue this legacy, helping us to raise over £40,000 each year, to:

Maintain and improve the Centre: In a typical year, we spend over £100,000 on maintenance, repairs and facilities management and our 2022 conservation survey estimates over £400,000 additional repair works will need to be delivered over the next decade. This Levy will help us to ensure our doors can remain open now and for future generations.

Improve accessibility: As a locally rooted community arts centre, we are committed to ensuring our activities are accessible. These efforts have been recognised by the Attiute is Everything Bronze Award and we continue to strive to remove barriers to taking part to ensure everyone has access to great arts and cultural experiences.

Enhance sustainability: We have installed solar panels and LED lighting to reduce running costs and carbon emissions and will continue to work to improve the efficiency of the building and ensure that our programme for the people comes not at the expense of the planet.

Thank you for being part of the journey.

Gerry's Attic - Image Credit: Alastair Brookes

This World Mental Health Day, we are shining a light on some of the activities at Trinity that are specifically programmed to offer support and help improve mental wellbeing.

Next Gen Sounds

Our weekly, drop-in music sessions for young people, Next-Gen Sounds, serves as both a place for young people to collaborate on their musical projects in Trinity’s music studio, but also acts as a safe space for young people to seek support and engage with musicians as a way of improving mental wellbeing. Supported by Bristol-based Mental Health charity ‘Off The Record’, Next-Gen Sounds has played a vital role in supporting young musicians – many of whom are from challenging circumstances – by harnessing the transformative potential of creativity to enhance their mental and emotional resilience.

Community Volunteer Gardening

Trinity's fortnightly Community Volunteer Gardening sessions are relaxed, informal, practical gardening sessions to support the Trinity Community Garden's maintenance and upkeep. Gardening is known to have a profoundly positive impact on mental health and wellbeing. The act of nurturing plants and witnessing their growth fosters a sense of purpose and accomplishment. Gardening encourages mindfulness, reducing stress and anxiety while promoting relaxation. Trinity's Community Volunteer Gardening sessions are very important to people living in the local area, many of whom live in high-rise flats and therefore may not have access to green space of their own, and without Trinity's Community Garden may not gain the positive effects that gardening has on improving mental health and wellbeing.

FAB Disco

FAB Disco is a disco for anyone over the age of 50, delivered in partnership Friends Ageing Better (FAB) and Eastside Community Trust. Isolation and loneliness are all too common among older people, and FAB Disco offers a space for people to socialise, listen to music, and dance together, all of which are proven to have a positive impact on mental health. Music can significantly enhance the mental health of older people by offering emotional support, triggering positive memories, and promoting relaxation. It fosters social connections, reduces stress, and provides an avenue for self-expression, contributing to improved emotional well-being, cognitive function, and overall quality of life.

Creative Wellbeing Workshops

At Trinity, we run Creative Wellbeing Workshops in collaboration with Age UK and Alive Activities. These workshops are a safe and welcoming space for people to take part in arts and crafts activities and to learn more about ways to look after themselves and relax. The sessions are aimed at bringing together individuals from different cultures within the community to explore and share their emotions in a creative and fun way. Using different art materials to express emotion acts as a valuable means of expressing and connecting with emotions, and engaging in this process in the company of other people from the local community can provide the opportunity to increase our understanding of and empathy for each other

Trinity Garden Party photo: Sophia Stefelle

We caught up with new member of the Trinity team, Jen Farmer, who has been in the post of Arts Engagement and Outreach Manager since September 2023. We wanted to find out more about what Jen will be focusing on and what she is looking forward to.

Q. Tells us about you:

A: Hi I’m Jen, the Arts Engagement and Outreach Manager here at Trinity. This is a new role, created to support the organisation as we increase our commitment to working with local neighbourhoods and community groups. I started this role in September after eight years working as Outreach Programme Manager at Easton Community Children’s Centre, and for many years before that managing and delivering education, outreach and community arts programmes with schools, theatres and arts organisations.

Q. What will you be focussing on within this role?

Over the next two years I’ll be working closely with cross-sector partners – charities, community groups, social enterprises, grassroot creative organisations and local residents and artists – with three key aims; to design and deliver a targeted programme of place-based activity, to support and add value to our community groups, and to build on and integrate our combined arts offer. We will be working in co-creation with our most local neighbourhoods, responding to, and supporting, their interests.

Q. What are you working on now?

The first step involves understanding community connections within our locality. To do this, we’ve partnered with social enterprise, Onion Collective and gaming technology company, Free Ice Cream.

We are inviting a wide range of local cross-sector organisations to participate in 'Understory', a workshop in which we will create a unique digital network map. Answering a series of questions, participants will see, in real time, the map build, allowing us to explore the relationships between people and organisations.

This map will become an important tool that informs Trinity’s plans as we go forward, and for all the other organisations who participate too.

Q. How can someone take part in Understory?

The workshop will take place on Tuesday 31 Oct 10.30am - 12 midday at Trinity., If someone would like to take part they can email me on Jen@trinitybristol.org.uk for more information.

Q. What else is Trinity doing at the moment?

We are currently working in partnership with St Pauls Carnival and David Jubb (Citizens in Power) to develop a model for a Citizens' Assembly for Culture in 2024. The idea of this is to creates ways for citizens to shape cultural offers for the WECCA region. We are also working with key community partners to help restore Jacobs Wells Baths and re-open the building to be a community hub.

Image credit: Visual Thinkery

This issue of our built environment and who shapes it is a local affair. Aside from exceptions such as the nefarious demolition of The Crooked House pub, campaigns rarely make national news. Headlines of collapsing schools, public sector strikes and unrelenting cost of living and housing crises can make preservation of our heritage and civic realm appear out of touch and NIMBYist.

"Amidst the minefield of regulations, funding shortfalls, and bureaucratic complexities, the neglect of our shared spaces carries profound implications for generations to come. We must move beyond a meritocracy model and the need to balance our short-term fiscal needs to take a duty of care over the long-term reimagining of a shared civic canvas on which to build our collective future."  Emma Harvey

Context is a cornerstone principle of the national planning framework, yet local authorities find the threat of an overturned decision and the resulting fines too risky at a time when 26 English councils risk of bankruptcy in the next two years [^1^]. Councils have powers to issue enforcement notices for urgent preservation or compulsory purchase of important, privately owned buildings. All too often though, it’s these same councils who are the reluctant custodians of our ageing social infrastructure.

We find ourselves trapped in an ongoing “estates rationalisation” exercise that deprives future generations of the shared spaces that shape the collective narratives of our communities. Research from the IPPR shows £15bn of publicly owned assets have been sold off since 2010. That’s 75,000 civic spaces, libraries, leisure centres, community halls and youth spaces lost. There is funding available to save them; £300 million DCMS Youth Investment Fund and £150 million DLUHC Community Ownership Fund. And yet it would appear only a fraction of these central government funds have been allocated.

These old, often listed, almost always complex buildings are in desperate need of investment after decades of cuts that have de-prioritised preventative preservation. This leaves such projects to save these spaces with an inherent messiness that is just to risky amidst continued rising costs of essential services. Such conditions make it almost impossible for all but a few fortuitous groups to lever funds to save the spaces we love.

While new laws have appeared to protect statues in the wake of the Colston statue's toppling, this protection seems to favour a type of politicised heritage storytelling, rather than building connections through our shared past. Our heritage spaces are being co-opted by those looking to control the narrative as exemplified by the recent case of the Restore Trust's bid to dominate the governance within the National Trust [^2^]. If those who control the present control the past and that past shapes our future, then the erosion of our stake and influence in shaping these narratives poses significant threat, especially if we continue to lose the spaces that allow us to make these stories our own.

The idea that we can only fix the roof whilst the sun is shining risks leaving us with no roofs at all under which to learn how to swim, to dance, to read, to make memories, connections and shared solutions to the problems facing us all. After a decade plus of political storms the ability to define heritage, own space and determine which assets should be preserved feels like a luxury. Distracted with the immediacy of our collective woes, the agendas of all but a few will define who we become.

Amidst the minefield of regulations, funding shortfalls, and bureaucratic complexities, the neglect of our shared spaces carries profound implications for generations to come. We must move beyond a meritocracy model and the need to balance our short-term fiscal needs to take a duty of care over the long-term reimagining of a shared civic canvas on which to build our collective future. Cost-saving solutions that fail to think beyond the current political cycle means we pay in perpetuity. Somewhere, in some form, we always pay.

Emma Harvey, CEO

About this article

Trinity are committed to advocating for shared community and cultural spaces. We are members of Locality and are currently leading an appeal to restore Jacobs Wells Baths in Hotwells.

Read our 100 Beacons report that shines a light on the importance of – and understand the risks posed to – Bristol's community and cultural assets.

[^1^]: The Guardian: "At least 26 English councils at risk of bankruptcy in next two years"

[^2^]: The Guardian: “Vote no to the thinktank pod people trying to body-snatch the National Trust”

Artwork by Patch Keyes

Duppy Hunter: A Locals Guide to St Paul’s is a ‘listening experience’ where audiences are invited to embark on a playful exploration of St. Paul's, assuming the role of Duppy Hunters in pursuit of an elusive spirit hidden amongst the streets and sights of this vibrant neighbourhood.

This unique experience is a collaboration between Trinity and the renowned Tamasha Theatre Company, whose work supports both emerging & established Global Majority artists and arts organisations Coney who create playful digital experiences.

We caught up with the Director of Duppy Hunter, Hanna Adu-Boateng, to find out more about the adventure:

What attracted you to this project?

The project came about at a time when I was seeking work with Global Majority theatre companies. I was really interested in the collaboration between Tamasha, Coney and Trinity and the concept of the Ends and Tales genre of theatre. I liked the fact that the three organisations were looking for a director who was connected to the Global Majority heritages, especially the African Caribbean communities in St Paul’s, Bristol. I came to Bristol 30 years ago to work creatively within St Paul’s for an organisation called Kuumba, which empowered and developed people of African descent. Dr Edson Burton also worked there at the same time. However, an opportunity has never arisen for me to direct/dramaturg one of his plays. The project brief also aligned with my desire to delve into work which includes interviewing members of the community to draw out personal stories connected to the rich history of St Paul’s. I also was really attracted to the prospect of developing my work with digital media and audio production, which would be a new and exciting challenge for me.

Duppy Hunter is written by Dr Edson Burton, inspired by interviews with the local people of Bristol and their memories. How do you go about directing a piece of work that use community stories?

Directing Duppy Hunter means that you must be able to connect with, design a specific set of questions that you want to ask each interviewee, but also be flexible enough to go with the stories each person wants to tell. The memories of local people and their connection to St Paul’s give authenticity to the narrative, which Edson created. It is important that the writer has confidence in you honouring his work and the local people trust and are comfortable with sharing their memories with you. I think Edson drew out a strong narrative that will relate to many of the community of St Paul’s from decades gone by, but he also included poignant individual memories of characters who have passed, which must be overseen with care and empathy.

Why is a project like this important to Bristol - and beyond?

It is so important that Bristol and places beyond recognises and celebrates the epic contribution the African Caribbean people from the Windrush era onwards have shaped the political landscape, history and culture of the city. You can learn more from projects such as this.

What should someone expect to experience when they sign up for Duppy Hunter?

They should expect to have a lot of fun experiencing the narrative unfold as it transports you from one memory and place to another, through the central character of Josie, who is a Duppy Hunter. They will also be moving through different periods of time, encountering different people who have contributed to the racial justice and equality struggle.They will enjoy music from different decades, the singing of hymns and be moved by real people who have passed but will never be forgotten. They will learn alot!

Duppy Hunter runs from 03 October - 29 October and starts at The Trinity Centre - click here to get your tickets.

Jacobs Wells Baths, a dance centre for over 30yrs, has been closed for a number of years

The mission to restore Jacobs Wells has received a significant boost with grants from the Architectural Heritage Fund and the Sylvia Waddilove Foundation UK, aimed at matching the committed funding from the Nisbet Trust. This financial support is a crucial step towards reimagining and restoring the iconic Grade II Listed building in Hotwells.

The redevelopment project is being supported by specialist expertise from an experienced professional team including conservation-accredited architect, Corinne Fitzpatrick. Corinne has previously worked on projects including Clevedon Pool, Bridgewater Castle House, St. James Priory, and Tabernacle Kingswood, as well as supporting with a year long repair programme of works to the Trinity Centre.

Leading the design aspect of the project is Sean Redmond and the PH3 Design team who have a history of involvement in feasibility studies and capital design scheme’s for the former Bristol Community Dance Centre, based at Jacobs Wells for over 30 years until they closed in 2016.

The structural engineering team from Mann Williams have been working on a similar restoration scheme to Moseley Road Baths. The team are being led by Nichola Dyer of Greenwood Projects, who are also providing Quantity Surveying services.

The team have commenced on-site surveys to assess the condition of the asset. These surveys will help identify costed works plans, which will include a phase of Emergency Works to stabilise the asset while the Trinity Team and the steering group work on developing an application to the Community Ownership Fund (11 October).

As part of our mission to restore the building we will be continuing to approach heritage funders to support Emergency Works alongside developing a full application to Community Ownership Fund – a £150m government scheme to save assets and amenities at risk of being lost.

Be part of future and help make the magic happen:

• Fill in our survey tell us how you would like to use space
• Share your story e.g. images / memories of space #savejwb or to info@trinitybristol.org.uk
• Write a letter of support
• Join us on one of our pop up events to find out more about our plans (20, 23 Sep)
• Comment and vote on our Pol.is
• Click here to join our mailing list to be kept up to date on ways to get involved
• Click here to donate to the Jacobs Wells Baths Fundsurfer now

Image: Sould and Cells

We are thrilled to announce our Autumn Theatre and Arts programme, a dynamic exploration of grassroots social justice which celebrates underrepresented voices and shares untold stories from Bristol and beyond.

“This season is an ode to the underrepresented voices and cultures that make up our social fabric, redefining and exploring contemporary arts through the lens of social justice.” Esther Afikiruweh, Combined Arts Producer, Trinity

The series features film screenings, spoken word performances, theatre and dance and kicks off with an immersive audio trail, 'Duppy Hunter: A Local's Guide to St Paul's' on 03 Oct. Audiences are invited to embark on a playful exploration of St. Paul's, assuming the role of Duppy Hunters in pursuit of an elusive spirit hidden amongst the streets and sights of this vibrant neighbourhood. This unique ‘listening experience’ is a collaboration between Trinity and the renowned Tamasha Theatre Company whose work supports both emerging & established Global Majority artists and arts organisations Coney who create playful digital experiences.

On 12 October, we welcome community artists Carlota Matos and Hiba Elhindi, who, in collaboration with the refugee and asylum seeker support charity Borderlands, will host 'Theatre of Migration'. This evening promises engaging panel discussions, screenings, and sharings, delving into the world of participatory theatre and the ethical considerations of creating theatre based on lived experiences, particularly from the perspective of refugees and asylum seekers.

The powerful documentary, 'I am Judah', will be screened on 20 October. The film tells the poignant story of Easton resident Ras Judah, who was unjustly tasered by the police in 2017. Despite a criminal trial, the officer responsible was found not guilty, and in September 2018, she was also cleared of misconduct. "I Am Judah" critically examines this case, giving voice to Judah as a community elder and shedding light on the broader issue of police injustices affecting many others.

Returning to Trinity on 05 November, dance artist Akeim Toussaint Buck and Crystal Zillwood present their performance, 'Souls and Cells'. This mesmerising showcase delves into themes of heritage, ancestry, and moments of inter-connectiveness through the medium of movement, dance, and sound.

As a culmination of the season, we join forces with the Afrika Eye film festival on 17 November for the 17th festival edition. Together, we will present a screening of 'Neptune Frost', the 2022 science fiction romantic musical film co-directed by Saul Williams and Anisia Uzeyman, alongside performances from spoken word artists.

Our Autumn Theatre and Arts programme promises to be a season of thought-provoking and inspiring events, celebrating diversity, social justice, and artistic expression. Join us as we elevate underrepresented voices and share powerful stories that resonate with the many communities who live in Bristol.

About Trinity Presents:

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

Panel discussion as part of 'Final Frontier'. Image credit: Khali Ackford

In partnership with St Paul’s Carnival/Trinity and Citizens In Power, we have been exploring how a representative group of citizens from across the west of England could create a cultural strategy and delivery plan for the region. Following our research phase we are now undertaking a series of ‘citizens panels’ with people from across region.

We will host three panels during September and October in which we will ask citizens to review the initial model for a Citizens’ Assembly for culture that was developed by the working group. The findings of the three citizen panels will be assembled into a report that sets out how the recommendations have been implemented in the design of the 2024 Citizens’ Assembly for culture. We are then planning follow-up sessions with people and organisations working in the cultural sector during November and December.

The citizens panels will be hosted by David Jubb (Citizens In Power) and small discussion groups will be facilitated to ensure everyone has a voice in the process. The reason for involving citizens in the design process is that we believe that a wide range of citizens can help improve the idea and make it more relevant to more people from across the region.

If you would like to find out more and explore questions about the idea and the process then we will be at the ‘Festival of the Future City’ on Oct 19 at Watershed where we will share our journey so far. The event will be open to questions from and conversation with the audience at this free event.

The citizens panels mark an exciting next-step for the Citizens For Culture project, made possible with the support of the Gulbenkian Foundation (UK Branch) and Arts Council England through the West of England Cultural Compact fund.

Find out more about the project