In 1992 Trinity was reopened by the New Trinity Community Association.
The new tenants and a dedicated team of volunteers began a second round of development and renovations, which included the installation of the sprung wooden floor downstairs.
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In 1992 Trinity was reopened by the New Trinity Community Association.
The new tenants and a dedicated team of volunteers began a second round of development and renovations, which included the installation of the sprung wooden floor downstairs.
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Paul Stephenson - Image Credit: Khali Ackford
Sir Paul Stephenson has left a profound legacy that reverberates across recent decades.
Few individuals have been so widely regarded across their lifetime as Civil Rights activist Sir Paul Stephenson. Paul is best known for his leadership of the Bristol Bus Boycott. As some of you may know a colour bar was in operation across Britain, including Bristol. The colour bar restricted Black and Asian migrants' access to housing, employment and services. Unlike apartheid South Africa, Britain’s discrimination was not codified in law. Instead, in the absence of legislation preventing discrimination, landlords, employers, service providers of all kinds were at liberty to deny services to whomever they chose. 'No Blacks, No Dogs no Irish' typified who was vilified. Regardless of skill levels migrants were relegated to the least desirable jobs, that is if they could find employment at all. The colour bar in housing meant that migrants were concentrated in the less desirable parts of Britain’s towns and cities.
Sir Paul, a former service man, had moved to Bristol to take up a post as youth worker when he joined a group of West Indian activists who wanted to bring attention to the colour bar in Bristol. They chose The Bristol Omnibus Bus Company as their cause Celebre.
The Bus Company’s refusal to employ Black drivers was widely known in the city. It was all the more glaring given the numbers of Black staff employed elsewhere in the country across the transport sector. Inspired by the US civil rights movement Paul and fellow activists Roy Hackett, Owen Henry, Audrey Evans, Guy Bailey, led a boycott of the Bristol Omnibus company from April-August 1963. The boycott was supported by students, liberal Christians, and of course members of the Bristol’s Black community. Crucially, the boycott attracted the attention of the national press at a time when Britain was entering a new relationship with the Commonwealth. Moving away from its dominant role, Britain wanted to signal it could be the head of a multilateral Commonwealth of Nations. News of racism in Britain was then a stain on Britain’s reputation among the newly independent nations.
A charismatic, handsome, orator and to all intents and purposes an Englishman, Paul was the perfect spokesmen for the movement. Under pressure from the Wilson Government, the national Trade Unions the Bristol Bus Company capitulated two months after the start of the boycott.
Various commentators argue that the boycott was an important catalyst for Britain’s first anti-discrimination act. Introduced into law in December 1965 the Act made it illegal to incite racial hatred and to refuse access to public spaces. The Act was strengthened in years to come but was at least the first step in a long legal journey towards equality.
The Bus Boycott was only the start, albeit a dramatic start to Paul’s activist career. He was once again in the public eye the following year when he was arrested and charged for causing a public nuisance. Paul had refused to leave the pub after the manager refused to serve him on account of his colour. The case went to court, an eyewitness corroborated Paul’s version of events he was acquitted, and the manager was later dismissed but as with the bus boycott, Paul’s actions exposed a persistence of racism to the wider public.
Paul used his friendship with celebrities, such as Mohammed Ali, to raise money for various youth charities He joined the Sports Council England but resigned in protest over the Thatcher Government’s refusal to criticize a British cricket tour of South Africa at a time when many in the sporting and entertainment world actively boycotted the apartheid regime.
Despite his national profile Paul continued his grassroots activism. Amongst many other roles he was chair of the West Indian Parents and Friends Association. He and his fellow activists were particularly concerned by the challenges facing the second generation of Black Britons. All too often, they experienced new forms of discrimination whilst also feeling marginalized from Bristol’s cultural mainstream. It was for this reason that members of the Association took on the management of the Trinity Centre.
Trinity had been purchased from the Church by a previous community organization in 1977. During this period Trinity offered a range of vocational courses, artistic development and an entertainment space. Despite its popularity, Trinity faced financial hardship and went into receivership in 1984. Owned by the Council, the building underwent a substantial overhaul and was put out to tender in 1991.
The tender was competitive but Paul’s influence as well as that of West Indian Parents and Friends was key to securing the building’s future as a community venue.
Trinity owes a debt of gratitude to Paul Stephenson for its continued existence. But wider than Trinity, Bristol and the country at large is indebted to his example of unflinching public service.
Tribute written by Dr Edson Burton
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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:
Designs were produced by Architect Daniel Pacaud, which at the time caused great controversy with the Church Commissioners Advisory Board for Redundant Churches, who felt that the proposed works compromise the architectural heritage of the space.
The Church was at the time considered to be one of the finest examples of the work of Architect Thomas Rickman, who built the church between 1829-1932 with Henry Hutchinson.
Pacaud's plans for conversion, involved the installation of a dividing floor. But, despite the Church Commissioners' discontent, the build project went ahead.
The images found show this development in full flow and include pictures of a visit by politicians - including a rather young looking Kenneth Clarke - to see first hand the "Community Initiative" in progress.
Works included:
However, the costly process meant that many of the works proposed by Pacaud - particularly the developments of the upstairs hall spaces - were eventually abandoned.
Today, Trinity continues to renovate and develop the space to try to avoid any further compromising of the interior and realise this original vision to make a multi-functional community hub.
"Although the very fine interior of this church would be ruined by the proposals as the building now belonged to the local authority Board members felt that it would be a waste of time to try and say it by fighting a rearguard action. It was RESOLVED: That the Church Commissioners be informed that the Advisory Board regards the church of Holy Trinity, Bristol, Diocese of Bristol, as a building of considerable architectural and historic interest with a fine interior that would be entirely compromised by the present proposals for conversion to a community centre" - Church Commissioners Advisory Board for Redundant Churches, June 1987.
We are committed to creating ways in which citizens can take an active role in shaping arts and culture, through projects such as Citizens’ for Culture. This Autumn we are inviting creatives and activists in the West of England to respond to this year’s Black History Month theme ‘Reclaiming Narratives’ through the lens of Citizens For Culture’s core principles: inclusion, voice and influence. In the first of this content series DJ, vocalist and songwriter NGAIO discusses her music video Goddess.
Reclaiming the Narrative: NGAIO and Goddess
The creation of this music video was so important to me, to tell my story of what it’s been like to find myself and my beauty in a Western world as a mixed-race woman. The beginning scenes were filmed on the streets of St Pauls, where my topless billboard was put up as part of the Censored campaign, which was put together to raise awareness about the sexualisation of women's nipples and the persecution received when seen in public.
"Goddess is about saying we're all Goddesses - no matter what anybody tells us, we are exactly what we need to be. We don't need to starve ourselves. We don't need to have the same face and body. Our uniqueness is what makes us individuals."
Men can go topless at any time, but women can’t, why is that still the case? It folds into a wider discussion about how heavily women’s bodies are policed when we look at reproduction and beauty standards - it all comes back to what external people think women should do with their bodies and how they should look (which changes all the time). These consistent messages of scrutiny in society through the media, and comments made and overheard, led me to feel deep shame, embarrassment, and fear.
I have been on a journey of loving my curves and accepting - some days even appreciating - my lumps and bumps. Never in a million years when I was young did I think I would feel steady enough to not only be pictured without a top on, but to let that be shown to the world on a street five minutes from where I grew up.
Goddess is about saying we're all Goddesses - no matter what anybody tells us, we are exactly what we need to be. We don't need to starve ourselves. We don't need to have the same face and body. Our uniqueness is what makes us individuals. Whatever the shape, size, colour, or gender; you are a Goddess in every sense of the word. People try to tell us that we should look a certain way or act a certain way. We're consistently being told who we should be, but how we feel about ourselves shouldn’t be dependent on the external world. We are more expansive than that.
Goddess is about understanding that we are connected to more than this moment we're in right now on this planet. It is about the connection that we have with our spirituality and our ancestors which is why in the middle scenes I’m surrounded by foliage outside with my natural hair picked into an afro. These scenes were to symbolise the necessity of connecting with nature and the Earth from which we are all born and will all return. Some see the Earth as a rock we live on that serves us, and that is so sad. This living, breathing, organism has given us and our ancestors life - it continues to connect us in space, spanning time we can’t even fathom.
The breakdown in the song is a celebration of that realisation that we are our past and our future and if we are ever feeling lost or unsure, we can tap into the Goddesses inside us to find our way. Through connection to nature or connection to ourselves - knowledge and love are always there, inside us. It ends on a scene which was a nod to a duo who have inspired this new chapter of my musical journey - Ibeyi and their first release, River.
It was filmed by Charlotte Sawyer, a long-term collaborator and lover of nature who’s just won an award for her incredible documentary Rave on for the Avon to raise awareness about the dangerously unsanitary state of our water in East Bristol.
This song - for me at least - was made for moments when I’m feeling unsure, to calm me with melody and stillness, to shake me up with love, before releasing me back into the world. I hope it can do the same for you.
About NGAIO
NGAIO, the versatile artist renowned for her vocals, songwriting, and DJing prowess, seamlessly blends these talents to craft electrifying live performances. This year, she will debut her first self-produced EP 'Four Quarters' and accompanying live show, featuring live vocals and recreations of her productions delivered through Ableton Push. Soundscaping trip hop, jazz, bass and global music in a multigenre sound reflecting her travels - there's something for everyone. As a mixed-race woman, NGAIO infuses her artistry with personal experiences, enriching her music with poignant storytelling told through spoken word and jazz-infused vocals delivered with passion.
Transitioning from band and DJ gigs to curating a solo show, NGAIO intricately weaves jazz and underground bass influences, earning comparisons to the eclectic iBeyi and Greentea Peng. Beyond music, NGAIO advocates for cultural understanding, bridging divides between races and classes.
Check out NGAIO’s website or socials @ngaioamusic
Videographer - Charlotte Sawyer
Photographer - Charley Williams
Interested in finding out more?
Citizens for Culture is an initiative from St Paul Carnival CIC, Trinity Community Arts, Citizens in Power and West of England Combined Authority and is supported through funding by Arts Council England, Paul Hamlyn Foundation and Calouste Gulbenkian Foundation (UK Branch).
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Mya is part of Mandala Theatre Company. Credit Seed Guardians/Mandala Theatre Company
We are committed to creating ways in which citizens can take an active role in shaping arts and culture, through projects such as Citizens for Culture. This Autumn we are inviting creatives and activists in the West of England to respond to the Black History Month 2024 theme ‘Reclaiming Narratives’ through the lens of Citizens For Culture’s core principles of inclusion, and voice and influence. In the second of this content series, writer and actress Mya Fraser shares her poem Justice.
Reclaiming the Narrative: Mya Fraser and Justice
Justice
Think of a boomerang, an object which is designed to return
back to that throws forcer. What happens if it doesn’t come back?. History. Left behind whilst they dare to live without them. I believe in clarity. what i would like to clarify is the detachment clarify the sadness the hurt the wonders. I believe in comfort. something you can’t breathe properly without. your beats no longer stating the same rhythms. that irregulation speaks volumes. the very same songs the luth sings isolated. As if there’s a complete loss of control. where lies the control when the one creator's captured fix stays lost. You've Left the hand waiting behind whilst finding that paternal break. The originator plucks the air it once sat. pondering in what it’s doing. Where are you? Hopeful you’re homesick. do theirs caress better? do theirs care for more?. Remaining wishful of tracing those invisible tracks in which the sand once led for you. Fulfilling the void that formed in your absence. To hear your sound once more would be an extraordinary pleasure in the figure and in the residential care of your beloved. Bring them home. Because again, I believe. and what i believe in most is a happy ending. rewriting a story doesn’t change the idea of the first plot, it manipulates the initial honesty. Here’s to history.
About Mya Fraser
Mya Fraser is a 20-year-old actress and writer, brought up in Oxford. At the age of 15 she decided to begin her acting career by joining young theatre companies based in her hometown. She later went on to receive her acting diploma in 2022 on a two year A-level equivalent diploma course at Bristol School of Acting. Fraser has been on multiple international tours with Mandala Theatre Company and is currently in their show Seed Guardians.
Follow Mya on Instagram
Interested in finding out more?
Citizens for Culture is an initiative from St Paul Carnival CIC, Trinity Community Arts, Citizens in Power and West of England Combined Authority and is supported through funding by Arts Council England, Paul Hamlyn Foundation and Calouste Gulbenkian Foundation (UK Branch).
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Amy Hutchings, with the support of Anna Haydock-Wilson, created a bespoke artwork for Jacobs Wells as part of the Fundsurfer appeal. Photo: Alastair Brookes
Thank you Bristol - we wouldn't have achieved this milestone without you!
Jacobs Wells – formerly known as Bristol Community Dance Centre in Hotwells – is one step closer to being revived in 2025 following a £1,050,000 grant from The Department for Levelling Up, Housing and Communities’ (DLUHC) Community Ownership Fund. The investment will help to deliver plans developed in response to a community campaign to transform the derelict space into a vibrant community arts hub.
Since the start of 2023, the race has been on to save the Grade II listed building following news that Bristol City Council had listed the asset for disposal. Backed by community stakeholders including Hotwells & Cliftonwood Community Association, artists and local councillors, we set out on a mission to raise the funds needed to repair and restore the building.
"This is another massive step in a hugely ambitious recovery effort and the Trinity Board would like to extend our huge thanks to DLUHC, match funders and supporters for sharing our vision." Trinity Trustee Dr Fidel Meraz
This latest investment builds on Bristol City Council's 35-year Community Asset Transfer offer to Trinity and ongoing survey work funded by Nisbet Trust and match funders to assess and scope the repairs scheme and undertake emergency measures to stop further damage.
The grant from DLUHC matches over £400,000 pledged in support of the project from local funders Nisbet Trust, John James Foundation and match funders including individuals who have been donating to an online Fundsurfer appeal.
The journey so far...
The Grade II Listed building has sat dormant since 2018 and faced an uncertain future at the start of 2023 when plans to reinstate it as a pool fell through. A petition was launched to save the building by the Hotwells & Cliftonwood Community Association, with the help of Trinity and it was subsequently listed as ‘At Risk’ by SAVE Britain’s Heritage due to its dilapidated condition.
We are actively progressing detailed surveys to the fabric of the building to assess the building’s condition and viability; this includes essential surveys to scope and cost works to inform decision making and capital-works. Subject to these, Trinity’s vision is to secure an estimated £4 million for a two-phased capital project and bring the building back into use in 2025 as a home for dance and community activity. See more about our plans, here.
Trinity Trustee, Dr Fidel Meraz who has been working with staff and community supporters to drive the appeal said:
"We want to take this opportunity to share a heartfelt thank you to all who contributed to the mission so far. From the encouraging letters from residents to the dedicated volunteers who generously shared their time to help campaign to restore the building, your support has been invaluable. We wouldn't have achieved this milestone without each one of you."
Dan Norris, Metro Mayor who recently visited Jacobs Wells for a behind-the-scenes tour said:
“Jacobs Wells Baths is full of potential, and I know many local people are really behind getting this building restored and opened again for the benefit of the community. I’m delighted that the hard work of Trinity Community Arts has paid off to secure this cash.
"As I’ve seen when I looked around, there’s a lot to do to before Hotwells residents can enjoy this facility again, but the potential is amazing. This is another important step on the journey.”
“Each step in this journey paves the way for the next and this latest grant from DLUHC brings us ever closer to building's revival. Its success is still very much dependent on your support - we invite you to join us and show you care by giving to our Fundsurfer". Emma Harvey, CEO
Councillor Craig Cheney, Deputy Mayor for Finance, Governance, Performance, and Culture, Bristol City Council said of the news:
“It was brilliant to see the new artwork at Jacobs Wells Baths last month, after we awarded a 35-year Community Asset Transfer lease in July to bring the Grade II listed site back to life.
"Congratulations to everyone at Trinity for securing this major £1 million investment in Jacobs Wells Baths. We hope that it will be a giant leap on the journey to delivering a thriving community arts hub.”
Our CEO Emma Harvey said:
“The success of a project like this is less about one thing and more about overcoming a series of interconnected challenges - from addressing immediate liabilities and securing funding to galvanising support from local stakeholders, alongside showing that the building has a long-term, viable future.
“Each step in this journey paves the way for the next and this latest grant from DLUHC brings us ever closer to building's revival. Its success is still very much dependent on your support - we invite you to join us and show you care by giving to our Fundsurfer".
Read more about the Community Ownership Fund here.
]]>Click play to watch Stokes Croft Lands Trust's campaign video
As part of our continued commitment to advocating for shared community and cultural spaces, we have pledged £1,000 to become a shareholder in the Stokes Croft Land Trust, matching the pledges of grassroots arts groups, The Invisible Circus and Artspace Lifespace.
“PRSC is a contemporary example of radical art in Bristol that represents the themes we’re exploring in our heritage project. Though this pledge, we hope to strengthen our ability more closely with PRSC and create shared outcomes for communities in relation to the art of resistance theme.” Rhiannon Jones, Programme Director
In early 2022, Trinity published the ‘100 Beacons’ report: A Community Canvas - building the case for community infrastructure, to shine a light on the importance of – and understand the risks posed to – Bristol's community and cultural assets. This report identified sustained underinvestment in civic assets coupled with the city’s rapid regeneration, poses a risk to Bristol’s unique identity that has led to it regularly topping the list of the "best places to live in Britain."
Bristol is a city renowned for its cultural offer and its activist spirit. However, parts of the city such as Stokes Croft that have historically shaped this identity have seen a huge growth in private development, which has already impacted on the cultural offer of this locality, with artists leaving Hamilton House in 2018, due to increased rents.
In response to this, the Stokes Croft Land Trust (SCLT) has been created to purchase 17-25 Jamaica St, Stokes Croft, which is home to the People’s Republic of Stokes Croft HQ (PRSC), in order to protect one of the area’s remaining cultural landmarks. Through a community shares offer, members of the community and like-minded organisations are able to come together to help ensure the building stays in the hands and ownership of artists, protecting its use for the benefit of the community. This is a model much like the Cube Cinema, which secured its building back in 2012 through community fundraising.
“Stokes Croft is a significant artistic destination in Bristol. With the scale of redevelopment happening and in the interests of social welfare, Trinity wants to help ensure our city’s cultural spirit and radical identity is nurtured. We’re working with the PRSC team to celebrate Bristol’s history of art in protest and we want to pledge our support for the Stokes Croft Land Trust so future generations of misfits have a space to call home.” Emma Harvey, CEO, Trinity Community Arts.
The Fundsurfer set up to help the SCLT purchase its first building and bring it into community ownership is already over 50% of the way towards their minimum target of £272,000.
Trinity’s commitment also supports our current work to document and celebrate 100 years of art and activism in Bristol through the National Lottery Heritage funded project, Art of Resistance.
Click here to pledge your support to Stokes Croft Land Trust today
]]>Welcome UWE professor and researcher, Dr Fidel Meraz and Canadian artist, Jonathan Luckhurst, whilst they explore architecture as not only a built space, but as an arena for reimagining more sustainable and inclusive futures.
Jonathan Luckhurst will present Proposals for Reimagined Futures, his current body of work that draws on deep time ecological strategies to suggest how both humans and the Earth might respond to the current environmental crisis. Whilst, Dr Fidel Meraz, will highlight Bristol's local architectural context through his photography and research surrounding the Trinity Art Centre's new location to be housed in the historic Jacob Wells Baths building.
For full artist bios, please click here
Two 20-minute artist presentations will be followed by a live Q&A. The evening concludes with an opportunity to exchange ideas and make new connections.
About Phylum:
Phylum Artist Talks presents artists and designers working at the intersection of ecology, sustainability and social practice. Creatives today play a vital role in bridging the gap between research and positive action. Taking place in Bristol, their programme brings together established and emerging artists to share future-facing projects and explore the most pressing issues of our time.
Submissions:
Phylum is dedicated to including perspectives from as many diverse voices as possible. To register your interest in participating in a future talk, please email Alison here.
Igloo - Image Credit: Alastair Brookes
As part of our Children and Young People’s programme, we brought Igloo, an interactive early year's performance, to Trinity. Igloo was created by Barton Hill-based Travelling Light Theatre. The company created the show specifically to tour to non-traditional theatre venues with the aim of breaking down barriers to accessing theatre.
We connected with our partners, Central Bristol Children Centre, to offer children (and their grown ups) who attend the centre’s weekly Stay & Play at Trinity, the opportunity to watch the show for free. Igloo was shared in a separate space running alongside Stay & Play, allowing families to choose if they wanted to give the performance a try during a familiar group session. In total we welcomed over 100 families/carers to two performances of Igloo.
Through feedback from conversations between children, families and local community groups and building upon our pledges we are looking at ways to create a responsive programme that aims to offer young children the opportunity to take their first steps in their creative journey.
Coming up in the summer we are pleased to host theatre company Tidal Tales who will be bring their latest show, Fairy Forest: Stories from the Trees, for an outdoor performance. This follows the 'The Hare the Moon and the River' that we programmed as part of our Summer Sessions last year.
You can keep up to date with our our Children and Young People's programme here or to hear about upcoming events and activities sign up to our mailing list here
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Women Who Make & Do Craft Market
Trinity is proud to celebrate the creativity and resilience of our communities with these recent highlights...
Women Who Make & Do Craft Market
A really lovely group of women and lots of networking - stall holder
On 9 March, we opened our doors for International Women’s Day to host a vibrant craft market, spotlighting female and non-binary makers and creators. Delivered in partnership with Eastside Community Trust and Somali Kitchen, with support from Fun Palaces, the market supported local traders, makers, and artists, providing opportunities for free workshops, demonstrations, and creative activities.
The event welcomed 500 people thoughout the day, celebrating local talent including potters, authors, illustrators, crocheters, cake-makers, artists, herbalists, gardeners, woodcarvers, and weavers. Bristol-based female music artists provided a steady soundtrack to the afternoon, adding to the event’s vibrant atmosphere.
Hosting events like these in partnership with creative communities is at the heart of what we do. If you have an idea for a partnership event or activity, we’d love to hear from you!
Trinity & Bristol Drugs Project: Creative Communities
We are pleased to announce a new partnership with Bristol Drugs Project (BDP) launching in April 2025. As part of Trinity’s vision of Creative Expression for All, we will be working with BDP’s Creative Communities programme; a thriving ten-year initiative that delivers weekly creative groups and events within BDP services.
Creative Communities uses arts practice to build positive relationships, break stigma, develop work and social skills, and foster a vital and life-affirming sense of community. Many of its long-running groups, including Bristol Recovery Orchestra and Beginners Music, will now be based at Trinity. Additionally, we are proud to become one of BDP’s Sober Spaces venues, reinforcing our commitment to accessible and inclusive creative opportunities.
Together, we will also explore new bespoke creative programmes that respond directly to local needs and interests, enhancing Trinity’s year-round adult programme to support inclusion, health and wellbeing, and skills development.
Garden Party Origin Story
Looking back to the roots of Trinity and its connection to the free party and festival scene, we are reminded of the importance of spaces where people can come together to create and celebrate. Our annual Free Garden Party is a staple in Bristol's cultural calendar that embodies the city's spirit. Originating as a community-focused event rooted in the legacy of Bristol’s underground free parties and DIY festivals, the Garden Party continues to provide a space for creativity, music, and shared experiences.
Check out the details of this year's event here and get in touch if you're interested in performing, having a stall or volunteering.
From craft makers and community arts to the heritage of free festivals, Trinity remains a place where communities shape the art of what's possible and curate new ways of being each and every day.
We're what you make us, so get involved!
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Trinity's Community Consultation
Thanks to the support of Architectural Heritage Fund, we were able to carry out an extensive community consultation, led independently by Artspace Lifespace. Working with PH3 Designs, we also worked to update our Feasibility Study for the Trinity Centre, to ensure we have a plan for future capital works linked to the feedback of communities we serve.
Our 12pt action-plan, linked to our Business Plan for 2023-26 will help to ensure we remain on track to respond to these fundings and recommendations, in line with our values:
Accessibility & visibility
Relevancy & equity
Reach & representation
Responsibility & accountability
Context
Trinity’s values are Empower, Respond and Amplify and we are committed to living these values through the proactive development of our workforce, programme and building. In response to previous surveys and feedback we have taken the steps to ensure our actions align with our values, including:
Empower: Becoming a Real Living Wage employer in 2020 for all age-groups and roles, to ensure everyone is paid fairly to start their career in the arts
Respond: Appointed a new Activities Coordinator in 2021 to lead asset-based community development activities and initiatives
Amplify: Ran the 100 Beacons campaign, 2022 to raise the profile of the work of community buildings across the city, helping to inspire a £4m Community Resilience Fund for the city
If there is anything else you think we could or should be doing to make sure we live out our values, please get in touch with your suggestions: feedback@trinitybristol.org.uk
More info
What's Next? Community Consultation, Artspace Lifespace
Trinity Business Plan, 2023-26
1985 Oct 25 International Time Off for Women Day, credit Evening Post, collected as part of Art of Resistance
Trinity is committed to creating ways in which citizens can take an active role in shaping arts and culture. In 2025 Our Citizens Assembly for Culture, created, in partnership with St Pauls Carnival and Citizens in Power will take place, offering people living in the West of England Combined Authority region the opportunity to actively shape the arts and cultural experiences that matter most to them and their communities.
As part of this commitment we are connecting with leading voices in the cultural sector to ask them to share their thoughts on the different civic and democratic tools that we as citizens can access. In the first in our series of opinion pieces exploring civic participation Dr Edson Burton, Curator at Trinity, reflects on the role of voting in democratic decision making.
"The Bristol Bus Boycott, the Gay Rights Movement, the Disability Rights Movements of the 1960s-1990s. These campaigns or movements have led to legislative changes that have, in turn, transformed our social attitudes"
Opinion: Voting Matters, Dr Edson Burton
‘Politics time again, are you gonna vote now?’ lamented the reformed Buju Banton, alluding to the lethal elections of his native Jamaica. But the question could equally be applied to the forthcoming British election. During the last General Election (2019), 67% of the population voted, up from the all-time low of just over 59% in 2001.
While that figure is on the rise, it still means that over 30% of the population has no say in how they are governed. According to a recent YouGov poll, the reasons given for not voting include a lack of access to polling stations, ineligibility, and no forms of ID. However, the most prominent reasons are a lack of trust in politicians and a feeling that voting will make little difference.
One might argue that cynicism is rife in politics, with pledges that are misleading if not downright dishonest. It has ever been thus, but in a crowded information world, voters may become so confused as to become indifferent.
Perhaps the dance of truth owes as much to us as to our politicians. Few would jump for joy at the thought of higher taxes, but without increased taxation, how can we fund our troubled public services, invest in green technology, or ensure education offers opportunities for all?
Responding to concerns over national identity, political parties offer a raft of immigration control measures that, if implemented, would lead to a national staffing crisis. Yet, to extol the virtues of immigration is to risk electoral suicide.
The convergence between the main political parties may also fuel voter apathy. "There's no difference between them" is the often-heard lament. Despite the barbs and bites, there appears, at times, to be more that unites than divides the main parties. They vie to expose the actual commitment to an agreed-upon agenda rather than the agenda itself.
But it is worth remembering that this consensus is the result of political participation. The impetus to secure or woo working-class votes in this election is a result of the extension of the franchise beyond a small property-owning class. Once enfranchised, all parties have had to take seriously the interests of a wider range of citizens with divergent interests and lives. Further franchise expansion was not some benign gift of a ruling class but the result of blood and guts campaigns by working-class men and women. Think Chartists, Unions, the Suffragettes.
What is the point of voting if you cannot meaningfully participate in society? If your race meant you could be legally denied access to jobs or employment? If your gender meant you were denied promotion, let alone equal pay? If your sexuality or sexual identity could lead to your imprisonment?
Such was the case prior to major civil rights campaigns: the Bristol Bus Boycott, the Gay Rights Movement, the Disability Rights Movements of the 1960s-1990s. These campaigns or movements have led to legislative changes that have, in turn, transformed our social attitudes.
Broadly speaking, all our political parties have arrived at baseline of inclusivity consensus. In recognition of new voting demographics and the reputational damage of appearing to be illiberal parties may wish to appear to be race, gender, and disability friendly
But how safe is this consensus? Is it a pragmatic concession to the present while some hanker for an illiberal past? The USA has recently demonstrated the danger of complacency as civil rights advances have been eroded by reactionary forces. Could the same thing happen in England? Perhaps if it is electorally beneficial, but certainly not if it is electorally damaging. It could only be so if we vote or hint that our vote is for the preservation of our rights.
Beyond preserving our rights, further changes that we want to see in society will inevitably involve legislation, which in turn will involve exerting pressure upon politicians. The time scale of change may not suit the urgency of our demands, but rather than lose heart, we must continue to exert political pressure through campaigning and ultimately through the ballot.
Not voting is a verdict on politics, but it cannot lead to change; rather, it will maintain the status quo. In the calculus of win or lose, only voters and their interest's matter.
Vote.
Find out more about movements that have shaped society by exploring our interactive heritage timelines
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St Pauls Carnival Panel Discussion at Glastonbury Festival 2024 - Image Credit: Khali Ackford
Trinity is committed to creating ways in which citizens can take an active role in shaping arts and culture. As part of this commitment we are connecting with leading voices in the cultural sector to ask them to share their thoughts on the different civic and democratic tools that we as citizens can access. In the second in our series of opinion pieces exploring civic participation LaToyah McAllister-Jones, Executive Director of St Pauls Carnival, reflects on her experiences of using various tools to facilitate democratic decision-making.
Opinion: Voices in Decision-Making, LaToyah McAllister-Jones
I have always been attracted to work and play that enables people to have a voice. To be heard. After years of working with marginalised groups, from managing accommodation services for street homeless people to community organising in Hackney, I have developed an interest in the right to influence decisions being made about our lives.
One of the most interesting things about leading a community arts organisation is just how integral the community is to our work. St Pauls Carnival CIC is merely a custodian for the iconic event; we provide a stage and the community fills those spaces. Carnival celebrates African Caribbean talent in St Pauls and beyond as well as our culture and heritage. Our communities continue the traditions of our ancestors using music, dance and storytelling to share lived experiences and connect to our heritage. This is one of the most important things about our event: it allows us to tell our own stories, in our own words, using our voices.
In 2021, I was asked by Involve to facilitate Bristol City Council's Citizens’ Assembly supporting policy development in housing, health inequalities and transport as the city emerged from Covid. The process was new to me, and I loved the way it cut through many of the challenges that we often come up against when engaging communities:
St Pauls Carnival are currently delivering a Citizens’ Assembly for Culture in partnership with Trinity Community Arts, Citizens In Power and West Of England Combined Authority. The idea developed just as we were coming out of the pandemic and thinking about the lessons learnt; particularly the role of community. Together, we were curious about what it would look like to use the assembly process - democratic, person-centred and thinking about strengths of a place, its people and its assets - to reimagine what the cultural offer could look like in the South West region.
Democratic decision-making allows citizens to actively contribute to the discourse that shapes their communities. We also believe culture is experienced by everyone, in many different ways, and everyone should be able to access the culture that represents them. If this is to be the ambition, it is vital that we put people at the centre of that process. This means understanding how people experience culture, what it means to them and, as cultural leaders, asking ‘how can we reflect this in our approach and programming?’
The new Labour Government expressed an interest in the use of Citizens’ Assemblies earlier this year, and the format has been used to unpack challenging issues like abortion in Ireland. The South West region is already embedding this approach into how we speak to our communities, and we are at the forefront of using assemblies to understand how we deliver for everyone, and not just those who can afford it or who have easy access to culture.
Our Citizens’ Assembly for Culture project offers an exciting opportunity to create a new approach to engaging people in the cultural life of a place. The Assembly will take place in Spring 2025 as a central programme within Culture West, funded by the West of England Combined Authority and Arts Council South West. The recommendations coming from this Assembly will become part of the regional approach to delivering a citizen-led cultural offer.
Find out more about the Citizens' Assembly for Culture project:
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”
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