Image credit: St Paul's Carnival

In partnership with St Paul’s Carnival/Trinity and David Jubb of Citizens In Power, we are exploring how to co-create a cultural strategy for the city and surrounding region with citizens.

During this research phase, funded by Calouste Gulbenkian Foundation (UK Branch), we invited a range of collaborators from the sector who place participation at the heart of their practice to hear from some of the best speakers working in democratic decision making right now.

Part 3: Becoming A City Of Culture

In our third blog we reflect on the thoughts and experiences of Bradford 2025 team members, May McQuade and Jack Lynch who used the Citizens’ Assembly model as part of Bradford’s successful UK City of Culture 2025 bid.

May McQuade was the Programme and Community Coordinator for Bradford 2025. It was her role to explore what they would do if they were to win, and what programming could happen during the bidding period. This involved lots of consultation work, spreading the word around the bidding and getting people on board. 

Jack Lynch worked on creating the campaign and brand for Bradford 2025. His role looked at how the City of Culture bid looked and felt, and the story they wanted it to tell. Jack spoke about being particularly keen to make something that felt truly original in Bradford, particularly with regards to how people normally spoke about the area.

The group were interested to explore what the catalyst was for this groundswell of positive engagement with the Bradford 2025 campaign. Jack shared that there was a focus on taking public opinion and universal truths about Bradford, and working them into the campaign. They found this was a way that everyone – from people in the arts sector to people in the street – could understand the aim of winning a City of Culture bid, and that this helped create a high level of engagement. The group discussed that ‘finding the city’s universal truths’ could be an important part of a City of Culture bid for Bristol.

Delving into the local authority’s involvement in Bradford 2025, May shared how the council had set up and invested in the trust then fully supported the bidding process. The decision for the bid to be separate from the council gave the team creative freedom.

There was a question posed from the group about the high number of people of Pakistani heritage living in Bradford, and how the bid was representative of this community. May spoke about several staff and steering group members being of South Asian heritage and the broad consultation events taking place in every ward of the district. May also shared that part of the bid’s focus was around improving representation in decision making roles within the arts, and supporting growth of the South Asian arts offer in Bradford. She went on to say that there are also many other Global Majority groups living in the area, and they wanted to make sure everyone was involved - which was admittedly difficult. The group spoke about Bristol’s arts sector not being fully representative of the diverse population of the city, and how there would need to be careful thought put into that during the bidding process. 

When asked what the biggest takeaways were from the process, Jack spoke about understanding that from a marketing perspective this is essentially a political campaign. May shared that, on a personal level, she felt it was important to start with a pace that makes sense with the communities you’re working with and not push too hard from the beginning – it’s a fast paced process and can easily become overwhelming.

Interested in finding out more?

• Read the blogs so far: Part 1 What is a Citizen's Assembly? and Part 2 Art, for, with, by the people
• Keep up-to-date about the project by joining our mailing list
• Read Freddie Wulf's article: Identity Capital
• Watch Trinity's take over of the Radix Big Tent
• Join in the conversation using #67MillionVoices

Bristol Caribbean Community Enterprise Group had debts of more than £100,000.

Midland Bank was the company's biggest creditor, but the Inland Revenue (who was owed £23,000) brought legal action.

Its Chairman at the time (from November 1983), Mr Richard Davis, said in Venue no.70:

"We had several months' work to do on improving the appearance of the place...it's tragic and we feel very bad about it all."

He believed they could turn their losses around but needed to overcome the drawbacks (like the gravestones outside the road widening and the state of the building) which were thought responsible for people's reluctance to use the place: "We inherited a lot of problems. It's been a long, hard slog and it seems everything's been against us."

Centre Manager, Fitzroy De Freitas was accused of stealing money and running away to Jamaica. It transpired that he was actually living at his sister's house in Clevedon, penniless, with massive loans out on his former property due to Trinity. Sadly, the rumours stuck anyway.

A sale price of £25,000 is agreed for Holy Trinity to the Caribbean Community Enterprise Limited.  Payment is expected in installments.  The purchasers are also expected 'to pay a substantial part of the purchase price and to have undertaken the conversion of the existing building before embarking on the levelling out of the churchyard.'

On 21 December 1977 Order in Council was made by Church Commissioners that Holy Trinity could be appropriated for use as a community centre. This order formed the basis of a protective covenant that is still in place to safeguard its use in the present day.

About BCCE

The St Paul's 'uprisings' of 1980 awakened the desire of African-Caribbean community activists to provide ownership for young people of a centre that offered entertainment and personal development relevant to their own perceived needs. Without the hard work and dedication of this organisation, who undertook all of the early restoration and conversion work, the Centre would not be the amazing functioning community space it is today.

BCCE timeline

1977-1984 - Roots, rock and rebellion

This is for the Filipino-British Community and for everyone else who would like to join us and see and celebrate the Filipino Culture.

People can expect Tradition food and drinks. Filipino music, Traditional dances as well. There will be Filipino Artists coming along and perform as well.

In attendance: The lord Mayor of Bristol

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.

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

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

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

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

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

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

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

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

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

Art and (capital P) Politics must be separate

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

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

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

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

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

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

By Emma Harvey, CEO

Seven ways to show solidarity

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

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

Jan 21-22 Arts Opportunity Theatre staged 'Black & White in Colour' in 1983. The play explored causes of the St Paul's Riots in 1980.

St Pauls Carnival

In partnership with St Paul’s Carnival and David Jubb of Citizens In Power, Trinity are exploring how Bristol can co-create a cultural strategy for the city and surrounding region.

During this research phase, funded by Calouste Gulbenkian Foundation (UK Branch), we invited a range of collaborators from the sector who place participation at the heart of their practice to hear from some of the best speakers working in democratic decision making right now.

These focus groups have been a chance to share ideas, experiences, knowledge and expertise on co-creation, participatory democracy and how we can do things differently in the culture sector.

In a series of blogs we are documenting and sharing what we are uncovering this journey. For our first focus groups we welcomed Brett Henning, co-founder of the Sortition Foundation and Janet Vaughan, designer and co-artistic director of Talking Birds to share their experiences of creating Citizens' Assemblies.

Part 2: Art, for, with, by the people

Janet Vaughan is the co-artistic director of Talking Birds Theatre Company who hosted the UK’s first Citizens’ Assembly on Arts, Culture & Creativity as part of the 2021 Coventry City of Culture. The Assembly took place over six weeks and produced recommendations that were incorporated in the city's Cultural Strategy. We invited Janet to share their experience of using this model and what they learned during the process.

Joining us on Zoom, Janet first shared how their interest in participatory democracy came from the early day of the pandemic where a large proportion of people in the UK suddenly had time 'to do things'. During this time, Janet shared that they took part in online conferences and events by organisations including Civic Square and that this initial engagement was the spark that led to their hosting of a Citizens' Assembly.

The initial barrier to programming the Citizens' Assembly in Coventry was engaging with stakeholders to invest in the process - as Citizens' Assemblies are very expensive. However, Talking Birds, in collaboration with stakeholders, felt it was important for people, outside the cultural sector, to have a voice in creating a cultural offer.

Through David Jubb, Janet connected with the Sortition Foundation and they acted as the independent organisation who would administer, engage and select participants for the Assembly. The Sortition Foundation worked to ‘crunch’ the numbers to ensure participants reflected the demographic data that has been specified.

As with other UK Assemblies, Talking Birds paid for participants to take part and supplied people with the tech they may have needed for engaging in the process during a pandemic. They also offered 1-2-1 tech support to ensure engagement was equitable.

The group were interested in whether the Citizens' Assembly ‘made a difference’ and if the process enabled learnings that were 'surprising or unexpected'. Janet shared that, yes, firstly because conversations were had that otherwise would not have been able to happen and, secondly, because the people who took part would not normally have been able to engage with each other. Then finally, that because the Citizens' Assembly approach is tried and tested, it created real spaces for conversation, questions and ideas.

The group were then interested in how to go about choosing the provocation for discussion during the Assemblies'. Janet shared that Talking Birds set up an oversight committee to explore what their provocation would be. At the time there was a drive to ‘build back better’ and the committee, through discussions, came to an agreement that they wanted to explore the role of art and artists in this.

The final part of Janet’s talk looked at data and numbers. The Coventry project ran over six weeks, 50 people took part in the Assembly itself across six learning sessions with evidence from around 12 expert witnesses. The cost to run and engage participants was around £120k.

Janet reflected that it was brilliant to watch the participants build confidence over the project and felt the approach enabled people to feel autonomy, listened to and that their questions were valid. From these, recommendations were drafted and put to vote at the Assembly and then went through a process of refining the recommendations which where eventually submitted to the Council for consideration.

We will continue to share our findings from the research stage of our project alongside programming further focus groups and action-learning sessions.

Interested in finding out more?

• Read part 1: What is a Citizen's Assembly?
• Keep up-to-date about the project by joining our mailing list
• Read Freddie Wulf's article: Identity Capital
• Watch Trinity's take over of the Radix Big Tent
• Join in the conversation using #67MillionVoices

Mondays from 11am-1pm (School term time only)

Aid Box Community supports refugee and asylum seekers in Bristol. They create a safe space for refugee communities to socialise and exchange knowledge, skills, culture and language, whilst drinking lots of tea and laughing.

Every week we have a different activity for our wonderful women to do whilst we chat about this and that, and keep each other company! We have had mindfulness and art sessions, massage days, sewing activities, multi-cultural lunch clubs, and much more.

Tea, coffee, and light snacks are provided.

How to get involved

These sessions are targeted towards Refugee and Asylum Seeker women. You do not need to bring anything along to participate in these sessions. Children are also welcome. For more information please contact Heather from Aid Box.

Ice Road by Raucous performed in Jacob Wells Baths. Photo credit Jack Offord

In October 2022 a decision was taken to pause the process of awarding fixed-term funding to the arts and cultural sector of Bristol, in order to ensure transparency and independent decision making.

Trinity are advocating for a similar level of scrutiny regarding the future of our city's community infrastructure, given these decisions will have a far greater long-term impact on our social and cultural fabric.

Our work to promote the plight of the city's community buildings falls in line with Trinity's charitable objective to "provide or assist in the provision of facilities in the interests of social welfare". Recently we outlined the value of our many community spaces in Bristol in our report: "A community canvas – building the case for community infrastructure 2022-2026"

The disposal of Jacobs Wells Baths

Since January this year we have been working with stakeholders to create a vision for Jacobs Wells Baths, a Grade II Listed building that holds within its walls a wealth of architectural and social heritage - from its time as a public swimming baths to its 30 year history as a dance hub.

Following the information that Jacobs Wells Baths is now being put forward for disposal Emma Harvey, CEO of Trinity Community Arts, has submitted a statement to Bristol City Councils Full Cabinet meeting 04 July 2023.

Emma Harvey CEO Trinity Community Arts Statement:

For over 15 years, I have been raising concerns about Bristol City Council's failure to adequately classify and protect its community buildings.

Today, I once again bring forth my concerns regarding the disposal process being tabled today. It highlights a lack of protective asset class for buildings like Jacobs Wells Baths and Ujima House, which have been listed for disposal alongside disused plots of land, an old lock-up garage and a former public toilet.

The reduction of irreplaceable community buildings to footnotes in a 400-page agenda pack raises questions about how irreversible decisions are made about the assets we own. Disposing of irreplaceable assets without adequate scrutiny or a consistently applied process jeopardises our connection to the past, erodes our present identity, and threatens the resilience of future communities. Such a decision should involve greater care than may given by an ‘estates rationalisation’ exercise, when these decisions risk eroding the city’s landscape of public spaces where our communities - growing in size and diversity - can connect, build trust, and foster unity.

"Bristol has the opportunity to lead the way and, rather than disposing of these cherished spaces with a dismissive wave, we could seek to adopt a new ‘Public Realm’ asset use class that can change the way we define and protect civic and cultural domains for all citizens. These assets belong to the people of Bristol and as our elected representatives you are entrusted by us to act as our guardians of these shared spaces."

These spaces are more than physical structures and worth considerably more than an old bog or a dumping ground. They represent a tangible connection to our city's heritage and have witnessed countless memories and community gatherings that have shaped our city's social fabric. Not only do these spaces connect and improve the daily lives of people in their surrounding areas, they can also act as significant local economic multipliers, generating jobs and supporting small businesses. Specifically Jacobs Wells Baths is the only community hub within a locality with a combined population of 25,000 residents.

As Trinity has already set out, it has every potential to service the needs of this locality’s diverse communities; residents of HMOs and adjacent social housing blocks, older and young people, who have no other hub for locally based service provision.

I ask the members of today’s Cabinet what is the legacy you want to leave behind?

I urge the Cabinet to re-evaluate this process, as the Mayor has done with other recent called-in decisions, such as the Cultural Investment Programme.

I urge members to consider the 2019 Land for the Many independent report, which advocates for changing the way we make decisions about these critical assets.

Bristol has the opportunity to lead the way and, rather than disposing of these cherished spaces with a dismissive wave, we could seek to adopt a new ‘Public Realm’ asset use class that can change the way we define and protect civic and cultural domains for all citizens. These assets belong to the people of Bristol and as our elected representatives you are entrusted by us to act as our guardians of these shared spaces.

Though your time in office may be limited, the decisions you make today will have lasting consequences for the communities of tomorrow. Please do not miss this once in a lifetime chance to make a positive impact to safeguard the legacy of these and other community buildings for the enrichment and well-being of present and future Bristolians.

Further information

We support Power to Change's We're Right Here Campaign that is building a united movement for community power.

Read more in George Monbiot's Land for the Many independent report that focuses on changing the way our assets are used, owned and governed

Understory, credit: Alastair Brookes

We are working in collaboration with Bristol School of Art to offer adult learning courses for adults living within Trinity's locality. The courses are an opportunity for adults to learn and build upon creative, employment and job related skills.

The first of these course focusses on Arts & Crafts and life skills will take place over 15-weeks and will lead to a competency-based qualification - all designed to promote progression into education and employability. This will be through by exploring core transferable skills including speaking and listening, ESOL and digital skills.

"We're looking forward to working with Trinity to bring creative educational opportunities to the local community where we hope to inspire and support learners in our friendly, inclusive environment". Lynette Evans, Bristol School of Art, Art Lecturer

The idea for the courses were first developed during the Spring of 2024 where we collaborated with Bristol School of Art to deliver a ten-week Creativity in Nature for Wellbeing course in our community garden. We shared the opportunity with local groups, partners and through out Community Connectors.  People who took part in the sessions fed back that they built confidence, met new people and felt at ease in exploring creativity in a familiar environment.

Following the success of this  Bristol School of Art offered a 10-week art course, providing taster sessions in a range of art forms, for participants to build confidence and understanding in different approaches, and the opportunities to develop and follow their interests as the course progresses.

Through this research and development we have now created a regular programme of adult learning and education to meet local need and addresses health, wellbeing and educational inequalities. Working with cross-sector partners we will strengthen recruitment and progression opportunities and co-design a new employability framework - identifying key competencies to further progression.

Find out more about our community programme and explore upcoming events here.

Trinity is committed to creating opportunities for people to gain access to the arts industry and gain experience in the creative sector, particularly amongst groups with lower representation in the arts industry.

“At Trinity the opportunities for cross-departmental collaboration are massive. I’ve learned so much being here that I wouldn’t have at other venues” Aysha, Event Production Coordinator

Many of our permanent team members initially joined Trinity on an internship. Aysha, Trinity’s Production Coordinator, started her journey at Trinity in 2019 on a three-month internship. A role was created to suit both Aysha’s skill-set and the needs of Trinity. Trinity feels that this individually focused approach to hiring staff leads to more meaningful, fulfilling employment, and means that employees are in roles that best suit their skills, experience and long-term ambitions.

Like many members of Team Trinity, Aysha was offered a permanent contract after the end of her internship, moving into the role of Production Coordinator, and having additional responsibilities such as line management.  Further to this Aysha is part of a city-wide campaign to create safer environments for everyone to enjoy nightlife in the city.

Trinity believes strongly that investment in staff is one of the most effective ways to democratise employment in the arts industry.

We are working in partnership with South Bristol Youth (SBY) to provide opportunities for KS4 students to experience insights into working in the creative sectors as part of their 'insight into apprenticeship' initiative.

We also became an accredited Living Wage organisation and have created opportunities for young people to develop skills in the creative sector. Through the Kickstarter scheme we offered entry-level roles to nine individuals including CPD, training and mentorship for young people to gain paid experience in the cultural sector including in event production, marketing and communications and operations.

Over ¼ of employees who start at Trinity on internships go on to stay as permanent members of staff. By offering both secure and meaningful employment alongside opportunities to progress and develop a career in the sector, Trinity can help ensure that careers in the creative industry are a viable option for everyone.

Set in our historic grounds this family friendly day will have creative arts workshops, performances from local and emerging artists and activities for children and young people.

Featuring:

• live music and performances
• youth programme performances
• workshops for all ages
• shop local: featuring a fantastic mix of stalls
• local food vendors

Are you interested in volunteering with us, please head to our volunteer page to find out more.

Stall applications are now open, applications will close on Mon 18 Aug 2025

Access - if you have access requirements please let one of our team know how we can help.

Play your part in Trinity's future and support events like Garden Party, with a suggested donation of £3 per person.

Please note that no alcohol and no dogs can be brought on site. Bag searches will take place.

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.

We’re reflecting on the energy and creativity shared at last week’s launch of Freedom 25: Poetic Placards & Billboards, Trinity’s contribution to the national Our Freedom: Then & Now programme led by Future Arts Centres. The project brings together 60 arts centres and libraries across the UK to mark 80 years since VE/VJ Day and explore what freedom means today.

Over the past four months, participants from across Bristol, including local residents, refugee and asylum-seeking communities, and Caribbean Elders, have taken part in creative writing sessions with Bristol City Poet, Sukina Noor, and Heritage Curator, Dr Edson Burton. These conversations and workshops uncovered personal reflections, memories and hopes, forming the foundation for a series of autumn printmaking sessions led by visual artist Sonja Burniston.

Their incredible work is on display in Trinity’s Graffiti Room November 2025 as part of a new exhibition of poetic placards and prints. Alongside this, a large-scale Billboard Art installation was unveiled last week in Old Market Community Garden, created in partnership with Build Hollywood and inspired directly by the words and ideas shared throughout the project.

Speaking after the celebration event, Jen, Trinity’s Arts Engagement Manager, said:

“Seeing participants find their voices reflected publicly was incredibly moving. This project has shown how creativity can build confidence, connection and a genuine sense of belonging.”

The launch brought together participants, artists, partners and supporters to mark the culmination of this collaborative journey and to celebrate Bristol’s rich tapestry of voices exploring what freedom means to our communities.

Artist Sonja reflected on her experience working with participants, saying:

"I think this project is really exciting and so important right now! It’s happening in art centres and libraries, places where people can come together to share and tell their stories. These gatherings help us feel connected and remind us that we’re not just shouting into the void or quietly holding onto our thoughts in a world that often seems a bit chaotic due to global politics."

Sonja continues:

"It’s comforting to realise there are others out there who share our beliefs and values. Without these spaces and moments to talk about what really matters, it can feel pretty lonely. I’ve found it really special to be with others who get it. We’re all allies in wanting freedom for each other, and it’s wonderful to advocate for that together!"

Please check out the Our Freedom film to experience these powerful reflections on freedom, identity and community.

Over 12 weeks children and families from local school Hannah More primary took part Trinity’s ‘Art Club’ project, in partnership with Take A Part. During one session we headed down to Hannah More to chat with the children and families to ask them what they thought of 'Art Club', press play above to hear what they had to say!

"When I was their age, we didn't get the possibility to draw - we couldn't afford it" Baktiar and Asenat's Mum

In total 25 children and families came along to ‘Art Club’. During the sessions they explored different art-forms, such as clay making, model making using with different types of art materials.

The group also went on ‘go see’ visits to arts organisations and museums in the city. This included a trip to see the Grayson Perry exhibition in the Bristol Museum and a visit to the newly established arts organisations 'St Anne’s House' where they met resident artist Rachel Clarke.

‘Art Club’ is a Trinity commission, delivered by Take a Part in partnership with Hannah More Primary and made possible through funding from the Cultural Recovery Fund