Viki Brown during her Hyper Fem sharing (photo credit @ Khali Ackford)

Viki shared her work: Hyper Fem in early January 2019 at Trinity. Hyper Fem asks whether the performance of femininity through Drag can be as powerful, political or subversive when performed on a female identifying body. It is strongly inspired by some of her recent previous projects which involved epic wigs and performing as a ‘make up girl in a tiny dress’.

Many people came along to Viki's sharing, including Trinity staff (photo @Khali Ackford)

The IGNiTE team attended alongside Trinity staff, industry professionals and members of Many Minds the Bristol based arts and mental health charity that Viki is a co-director of. A sharing is the opportunity for an artist to receive feedback on their work in progress and to develop the piece further. For audiences it is an opportunity to 'contextualize the artist’s vision'.

“I work alongside resident artists helping with admin and logistics. Often we talk about road blocks they are facing and their '’break though moments'’. Because of this when I'm given the opportunity to see sharing's I jump at the chance. It gives me the opportunity to push my boundaries and offer perspective that may not come from the artist’s typical audience. ” - Ripley, Admin Assistant

Viki interacts with the audience after her sharing of 'Hyper Fem' (photo @Khali Ackford)

Looking back on her residency Viki says: "Developing ‘Hyper Fem’ at Trinity has been an incredible opportunity for me. I find the building, its history and its placement in the city truly inspiring. It's political past and its dedication to the multiple communities who use the space have challenged me to think and dream bigger than ever before. I felt safe, supported and welcome in the building which after two weeks of working there started to feel like a second home. We are now excited to begin the next phase of the project: finding partners and commissioners to work with on the show!”

In March and April welcome Roxana Vilk whose residency will focus on the lullabies families cross Bristol sing to their children.

Clare and Dave booked Trinity for their wedding, here they walk down the aisle in Fyfe Hall (image courtesy of Clare and Dave).

Host your ceremony in the beautiful Fyfe Hall with breathtaking stained-glass windows; transform the main hall with your own vision into a decorated banqueting area;  make the most of the iconic backdrop for photos in-front of the recently restored Grade II* listed former church, The Trinity Centre.

Abi and Jack celebrate their marriage in Trinity's large outdoor garden (image courtesy of Abi and Jack).

Book before 28 Feb 2019 to save 10% off 2019 Wedding packages – there are only a few remaining dates available in 2019 so be quick as once they are gone they are gone – to find out more and to arrange a viewing get in touch with us on 0117 935 1200 or email us at info@trinitybristol.org.uk

Volunteers sort through clothes in the Graffiti Room. Photo @Khali Ackford

A big thanks to everyone for their support during the Caring at Christmas day shelter at Trinity.

Across the project a total of 2307 hot meals and 2400 sandwiches where served to around 100 guests a day in the Day Centre at Trinity. We have been really delighted to team up and with Caring at Christmas for this much needed ambitious project,  during the crucial Christmas period when provisions become scarce in Bristol for those experiencing homelessness.

Thank you everyone for helping to make it happen!

Regular Trinity users donated Christmas trees to decorate the main hall. Photo @Khali Ackford

Trinity became a day shelter with support, food and social activities. Photo @Khali Ackford

Dinner awaits. Photo @Khali Ackford

Caring in Bristol team members outside Trinity. Photo @Khali Ackford

Celebrate flab, double chins and getting semi-naked in Scottee’s Fat Blokes (22 Feb). Laugh at the hilarious Confessions of a Cockney Temple Dancer, Shane Shambhu's biographical story of cultural fusion and clashes in an East London playground (10 March). Join Darren Pritchard Dance, their artist friends – dancers, singers, musicians and poets in the 1920’s Harlem Renaissance Inspired: Rent Party (16 Mar). Then, explore issues around migration in Toussaint To Move’s autobiographically sourced Windows of Displacement (23 March) where the shifting (and increasingly urgent) politics surrounding the movement of people takes centre-stage.

Explore issues around migration in Toussaint To Move’s autobiographically sourced Windows of Displacement (23 March)

Rent Party (16 Mar): a kaleidoscopic picture of what it means today to be young, gifted, and black – and poor, and gay.

From post-show talk backs (Fat Blokes 22 Feb, Windows of Displacement 23 March) to workshops (Making Stuff About Stuff, Scottee; Creative Dance with Akeim Toussaint Buck; Contemporary Dance workshop with Shane Shambu) there are plenty of ways to stand up and get involved in the season.

Sign up to: Contemporary Dance workshop with Shane Shambu, 10 March, £5

All IGNiTE tickets are £11 / £9 concs (including booking fee) and workshops of £5 (including booking fee). Communities who use Trinity regularly could benefit from subsided tickets, please email marketing officer sarahb@3ca.org.uk to find out more.

Get involved with IGNiTE

Volunteering - from stewarding to photography there are many ways to get involved in IGNiTE. Find out more about the opportunities on offer here.

Test audiences - help shape the work artists and companies create by signing up to be part of an IGNiTE test audience.

Residencies - find out more about our IGNiTE artists in residence here.

KOAN Sound are part of the 100+ line up across the city during the FightBack Bristol Festival. They play Trinity 14 Feb & 16 Feb (sold out)

Trinity joins 14 other venues this February (4-18 Feb) for Fightback Bristol – a new campaign headed by the Music Venue Trust that encourages audiences to visit their local grassroots music venue and promote the Bristol’s emerging and existing musical talent.

“These venues are the backbone of the live music scene in Bristol, providing spaces where artists can take their first steps, develop and grow. Fightback Bristol provides an opportunity to showcase the fantastic range of artists and venues that Bristol enjoys, celebrating the history of our music scene and supporting its future." Gary Prosser, Music Venue Trust

Events at Trinity during the festival include:

7 Feb Slum Village

9 Feb – Krank94

14 Feb – KOAN Sound

Plus more to be announced.

We will be selling Fightback Lager , Music Venues Trust’s new project to raise money to help grassroots venues throughout the country, providing venues with an affordable beer that financially helps the whole sector. Find out more about Fightback Bristol and other events across the city here.

The Making Tracks Showcase is an opportunity for young people from Trinity, Basement and ACE to  showcase their talents in-front of a live audience. Over the day 21 young people performed to an audience of over 100! Attendees to the event included Adam Devonshire of the band Idles who said of the showcase:

"To see youth projects like this, giving young people the opportunity to learn and grow as musicians, was truly amazing and inspiring. The confidence that comes from being given the tools to create music is immeasurable and projects like this are truly something to cherish. Long may it continue."

Dancers from Gerry's Attic, a dance group for the over 55's take part in a workshop (photo @ Sarah Koury).

Trinity Community Initiative supported community and voluntary groups with over 4000 hours free and subsidised hall space.

Keisha Thompson delivers a workshop to young people as part of our IGNiTE programme (photo @Khali Ackford).

Over 100 people took part in one of the professional workshops delivered by touring companies and artists programmed as part of our IGNiTE theatre and dance programme. Highlights included students from Making Tracks taking part in a vocal looping workshop with Keisha Thompson and Rise Youth Dance taking part in Uchenna Dance’s workshop.

This year we earned a Bronze Attitude is Everything Award, and secured £5,000 funding from the Hedley Foundation and Bruce Wake Charitable Trust to pay for a mobile accessible lift to enable wheelchair users to access our Main Stage.

Josh attends regular 121 music sessions at Trinity's collaborative music making project (photo @ Alistair Brookes).

Our collaborative music making project Making Tracks provided over 400 music sessions for 101 young people, many of whom (85%) struggle with confidence, behaviour, health, well-being or other challenging personal circumstances.  Making Tracks makes a difference in peoples lives.

We are committed to conserving and protecting the Trinity Centre for ours and future generations (photo Khali Ackford).

With generous donations from the public, an uplift grant from Historic England and support from Heritage Lottery Fund and, other charitable Trusts & Foundations we raised the much needed funds to complete the major repairs to the fabric of the building.

Trinity's annual Festival of Light along with the Garden Party attract over 3k visitors and feature a line up of the best local musical talent (photo @Khali Ackford).

You can read more about the work we do by downloading our annual report here, or you can find out how you can continue to support the work we do here.

We couldn’t do this without your support, thank you.

We wish everyone the best over the festive season.

Xyzelle, Sealvia and Chantaleaze - students from project partners ACE perform at Trinity's Festival of Light. Photo Khali Ackford

1. Playing at the Unity stage at St Pauls Carnival

"The Carnival Stage provided an excellent opportunity for young people to perform at one of the City's most significant and historic cultural events. It was great to have staff and  young people across the Making Tracks programme there on the day." Darren Alexander, ACE.

Josh Carter practices singing in one of our recording studios during the Summer Sessions at Trinity (photo @ Alastair Brookes)

2. Summer Sessions at Trinity

"Trinity's in house annual summer workshop and live performance event. Held over two days in August. Working in partnership with Access Creative College Bristol, who delivered bespoke DJ and Film sound workshops." Dave Thomas, Trinity Community Arts

Making Tracks showcase at Trinity's Festival of Light (photo @ Khali Ackford)

3. Youth Music Showcase at Festival of Light

"The Festival of Light provided our young people with the biggest audience of their music journeys so far. The sound quality was amazing and the experience provided a taste of what a professional performance feels like." Darren Alexander, ACE.

Area of Effect play on the main stage at Trinity's annual Garden Party (photo @ Jesscia Bartolini)

4. Youth Music Stage, Trinity Garden Party

"Area of Effect rock band opening on main stage. Seeing these three 15 year-olds rise to the amazing opportunity of performing their set with hi spec stage and PA  and at such a public event was so exciting. It really upped their expectations and motivation in terms of performance, and it also opened them up to 1:2:1: music development and support." Troy Tanska, Basement Studios

5. End of Year Showcase Party, Trinity

"I was really proud of the range of performances - from those who'd never made music in front of others, to performances good enough to charge for. They were really respectful and supportive of each other - even though there were such varied genres and skills. It was a massive highlight seeing a young person who had such a difficult time in the past, but who turned their life around since being part of Making Tracks in the summer and is now at music college, absolutely smash it centre-stage. Such an honour to see the power of music in action." Troy Tanska, Basement Studios

Our objection relates to the absence of community consultation in relation to the proposals and that the Noise Impact Statement makes no reference to the development’s proximity to Trinity.

We understand there is a critical need to build new homes in the city and welcome conversations with developers wishing to invest in the area around us. Conversations with existing businesses are a standard part of any planning process and help to inform plans, limit the number of objections to any project and give developments the best chance of success.

We believe people not only need places to live, but also spaces to come together, socialise and celebrate. A development less than 200 yards from an existing live music venue - which has not taken any action to mitigate against noise impact on new tenants - must be challenged.

Trinity is member of newly formed Bristol@Night Board which has been set up to respond to issues affecting the city’s nightlife. We will be working with this board - which also involves Save Bristol Nightlife - in the new year, to ensure as a city we continue to support and protect what makes Bristol a great place to live, work and visit.

If you would like to make your own objection to the proposed development, please visit Bristol’s Planning Portal and make your own objections, or cut and paste the following:

I would like to object to the recently resubmitted planning application reference 18/06186/F (previous reference: 17/04953/F) for the following reason:-

Insufficient Mitigation of Noise for New Dwellings (Agent of Change principle)

The Noise Impact Statement is from Nov 2016 and there have been no revisions of this report since this application was last submitted. The report makes no reference to the fact that the development will be right next to an existing live music venue (est. 1976).

Therefore, no mitigating actions have been taken in relation to its proximity to the Trinity Centre and there is no acknowledgement or awareness of the proposed Agent of Change Principle.

Josh has been attending 121 sessions at Trinity as well as workshops and other events delivered as part of Making Tracks (photo Alastair Brookes - KoLAB Studios).

"I had heard Trinity provided people who have had difficult pasts with good opportunities to develop skills with performing and recording music"

Hi, I am Josh I'm 21 and I come to Trinity weekly to attend 121 music sessions that are part of the Making Tracks Project .

As well as the recording sessions I attend I also have been learning skills in songwriting workshops and other music related events at Trinity.

I came to trinity because music is something that I’ve always been passionate about and I had heard Trinity provided people who have had difficult pasts with good opportunities to develop skills with performing and recording music, I mainly work with Al in the studio and greatly enjoy it.

I’ve struggled with mental health problems all my life and being able to record at Trinity has been a massive help with keeping myself positive and active. Taking part in Trinity has benefited me in more ways than I ever would have imagined, it’s enabled me to be able to write and record my own songs and has helped me develop my skills and confidence as a musician. When I first started attending trinity I was very shy and struggled with depression a lot and the friendly atmosphere provided at trinity has really brought me out of my shell and helped me become the strong confident person I am today.

Without trinity I would never have gotten the chance to make my own music or improve my skills as a musician.

If I had to describe my experience at trinity in three words I’d use “truly amazing experiences".

You helped secure Trinity's past, now play your part in Trinity's future

Architect Tim Ronalds delivers his talk 'Resurrection Man' during our 2018 talk series, delivered as part of our Conservation and Heritage activities (photo credit @Khali Ackford)

We are delighted to announce we have been awarded £1000 by shoppers at Tesco through Tesco;s community Grant scheme, Bags of Help.  Voting ran from September to October and Tesco's shoppers choose which local charity to support by voting with a blue token given to them at the check out.

During 2018 people took part in workshops exploring traditional skills used in the initial building of the centre in the 1800's.These stained glass pieces form part of an indoor visual history trail. (Photo @ Khali Ackford)

The money awarded will help us continue our Conservation works including proceeding with a solar panel and battery storage installation. Thanks to everyone who supported Trinity with their vote!

Ania sharing her work in progress at Trinity (photo @ Alastair Brookes)

A few thoughts about sharing Guayabo at SPILL Festival of performance 2018

"I just didn’t know how it would go until I had this experience"

Ania Varez is one of four Bristol based artists who are developing exciting new work in collaboration with communities at Trinity over six months as part of our IGNiTE theatre and dance programme.

During her residency Ania is developing ‘Guayabo’ a participatory work that invites people to gather around their pain and the pain of others and is heavily influenced by Ania’s move from Venezuela to leave her country’s violent dictatorship. The crisis is rarely mentioned in mainstream media and Ania has been using her art to share her and her family’s experiences with others.

Ania recently took ‘Guaybo’ to Spill Festival, an international festival of contemporary arts and activism in Ipswich. We asked her to tell us the four things she learnt while she was there.

Maybe not all works are meant for art festivals (or maybe they need a bit more help)

Guayabo is a very challenging piece to share for different reasons. Mostly, because it requires placing myself in a very vulnerable state, my family is also exposed through the videos and texts I read, and the topic is extremely painful and difficult on its own.

I was concerned that those who came to experience the work might not have the capacity to offer the mental and emotional investment this piece requires due to the festival environment which is overwhelming with people quickly moving from one performance to another. I also felt the audience needed more time to process the difficult information that Guayabo conveys, whilst in a safe environment, before leaving the room and returning to a conventional social mode.

Towards the end of the work, I invite people to stay in the room for as long as they need and to chat with me if they wish, but since people had to rush to another show, most of them could not have that time, which felt important in terms of caring for themselves and for me. To know this for future sharings is really positive!

I will think about what needs to change inside the work to ensure people receive the care they need. However, the context is also important. I’m sure SPILL would have made a bigger effort to ensure these things happened if I had spoken about them beforehand, but I just didn’t know how it would go until I had this experience. Maybe arts festivals are not the right context for Guayabo, or maybe it just needs some programming adjustments (have more time altogether, organising a meal to share right after, for example) would really help to overcome these difficulties.

Guayabo connects people in the UK with Ania's family in Venezuela

It’s nicer to meet people outside of performance settings

Whilst being at SPILL I slightly regretted not having the time to see other works and meet many people. Sharing this piece took all of my time and energy and I didn’t have the space to experience much more. In hindsight, I notice that I naturally felt more inclined to encounter people outside of the performance settings (at breakfast, or in the artists green room) in a more relaxed and meaningful way, and most of the time we didn’t even talk about our work which I enjoyed much more.

Before arriving to SPILL, I was quite worried that everyone around me would be trying to constantly pitch their work at each other, but I was glad to discover that most people seemed to agree that having a good time and laughing together was more important.

Self care and support kept everything together

I had severe technical difficulties during my first show and right until the beginning of my second show. This uncertainty added pressure to sharing such personal work, which massively compromised my mental health during the performance days.

Having my producer, Katherine Hall, with me during the first two days really kept me safe and capable of getting through the difficulties, as she took care of many things and allowed me to concentrate on the work. Sadly, she could not stay for the last two days and that would have really affected me if it wasn’t for Shabnam Shabazi (the Wellbeing Liaison of the festival) and Manon Santi (part of the SPILL team) who were there to support me. They gave such gentle and caring attention to me and to the work: this meant I could present the work without having a breakdown or feeling like I was delivering it on my own.

It’s not the end of the line

SPILL felt like an incredible opportunity for me as an artist and a person. It’s the biggest platform I have ever shared work on. But I didn’t want it to feel like the ultimate platform, or the culmination of this long process. I wanted it to feel like another island I stumble upon in the middle of this long trip. A place to pass by, gather things that felt valuable, meet great people and then continue on the journey. Almost one month after the festival, I see this opportunity has brought a few open doors, some new friends and a lot of learning. I enjoy holding on to this feeling of continuation, this long process that exists independently of the platforms that I visit, but continues to be nourished by them. I am looking forward to continuing my research at Trinity Centre next year.

Read more about our IGNiTE programme and artist in residence just here.

IGNiTE Artist Ania Varez is developing the performance piece “Guayabo” as part of her residency (photo @ Alastair Brookes)

Ania Varez is a young Venezuelan artist who left her country’s violent dictatorship and moved to the UK. The crisis she escaped is rarely mentioned in mainstream media but Ania has been using art to share her and her family’s experiences with others.

She joined Trinity as an IGNiTE resident artist in September to develop her new show “Guayabo”, or “heartbreak” in Venezuelan slang. In late October, she invited people to join a sharing session in which she presented her work.

Ania's homeland, Venezuela is experiencing a silent humanitarian crisis (photo @ Alastair Brookes)

All the elements that formed part of Ania’s performance painted a sharp nightmarish picture of her city, a place that has lost all of its warmth and safety. It was brilliant to not just watch but to actually actively take part in the interactive performance Ania created as part of her residency with Trinity.

Prior to entering the performance space, we were greeted by Ania and added to a WhatsApp group by her assistant to receive messages and media during the performance. We were then invited to walk into the space – a dark room with two rows of seats lined up to face one other. At one end of the rows; a TV, at the other end; a large lamp, switched off. The only other light source in the room was dim, the atmosphere was heavy.

Only a few minutes in, Ania invited us to lie down on the floor while she told the story of a murdered corpse being found in a park while she and her lover were peacefully laying down on the grass. This was a tipping point in the performance; by involving our bodies in the story-telling, it felt like we were brought incredibly close to Caracas, her home city, and to the terror that reigns there.

People wrote who they loved on apples as part of Ania's grief party (photo @ Alastair Brookes)

From writing the name of our loved ones on an apple, a mundane fruit that is now impossible to find in Venezuela, to joining efforts to smash a piñata, we were all made part of her grief party. The poems she wrote and read and the ongoing TV screening of the footage she gathered during a rare visit to her family were striking and raw. “In this city, laughter feels like a miracle”, “The last second of panic before you close the front door”, “Until there’s a bullet in the back of everyone you know”.

During the Q&A that followed the performance, we were asked if the stories that involved violence were too descriptive and shocking, but were all positive that they gave the show strength and impact.

Guayabo is about creating connections between places where the connections have been broken. (photo @ Alastair Brookes)

One thing felt very clear: “Guayabo” is not a teary-eyed drama seeking the audience’s compassion. It’s an invitation to connect Ania’s isolated family in Caracas and England. An attempt to create a positive link between two places that have been completely disconnected, if only for an hour. The large lamp that stood unlit in the room was set up to switch on if Ania’s mother replied to her WhatsApp message: “Are you safe today?”. We all sat waiting for the lamp to turn on for a solid minute, but it didn’t. Instead, Ania recorded a voice message of all of us clapping and cheering for her mother as a gesture of acknowledgement and support.

The 31st of October marked the 2 year anniversary of Ania hugging her sister for the last time before leaving. She marked the day by performing “Guayabo” at SPILL Festival in Ipswich.

About IGNiTE

IGNiTE is Trinity's in house programme of world-class, innovative theatre and dance about issues that matter to people now, starting conversations and sparking debate. IGNiTE is supported using public funding by the National Lottery through Arts Council England and buy Bristol City Council