Members of Gentle Dance during Trinity's Heart & Soul Memory Dance in 2018. Photo Khali Ackford / KoLAB Studios
“Being able to use Trinity free of charge has enabled us to keep running the art and craft drop-ins even with a very limited budget, reaching a greater number of disabled people.” WECIL
We believe activities are most successful when they're led by those by who use the services.
Our Community Kickstart scheme supports inspired individuals in our communities who have an idea and the passion to start an activity that is lacking in the community or neighbourhood. The scheme gives local residents free space, support and seed-funding to get new neighbourhood activities off the ground.
Kickstart is open to groups that are not in receipt of funding and do not have access to regular space to deliver their activity. Activities can include a dance, arts or fitness class, a community meeting or network event, a regular tea morning or an advice group or workshop.
Through Kickstart, we've launched new regular groups and classses such as Gentle Dance, which was set up in 2010 with support from LinkAge Bristol. With Trinity’s support, the group has become self-managing and sustainable, with 30+ regular participants each week, helping to improve health and well-being for over 55s through regular dance activity.
To qualify for our Kickstart scheme you have to be:
We are what you make us, so #makethespace and #getinvolved
]]>Team Trinity, pre-lockdown
The Trinity Centre, Old Market, has been given a grant of £35k as part of Arts Council England's £160m emergency package to support the arts sector during the Covid-19 pandemic.
Over 80% of Trinity's revenue is earned income from live music, bar sales, a pay and display public car park, plus hall hire for a range of community events and activities. Trading has ceased since the pandemic and the venue is anticipating a slow recovery once restrictions begin to lift, due to potential extended restrictions on public gatherings.
The grant from Arts Council England will be used to support Trinity through its recovery plan as well as help us to adapt existing projects and move activities online. As this is also a very difficult time for artists and freelance practitioners, Trinity is committing 20% of its grant to pay independent artists and community members for contributions to 'Trinity Presents'. This will include online workshops with Trinity's Associate Artist and local resident, Roxanna Vilk.
"Never have the Arts been more important than now, in these peculiar times. Singing, dancing, painting, drama, poetry - people are reaching out to all the art forms for nourishment, comfort, entertainment & wisdom. We mustn’t starve our imaginations & Trinity has a part to play in refreshing & delighting its followers. I’m thrilled to be one of them." Miriam Margolyes OBE, Trinity Patron
Trinity will be releasing information about an open-call commission for an independent D/Deaf or disabled artist to create a new piece of digital work.
Speaking of the recent support, Tom Marshman, Board Member and Local Artist said:
“Not really a time for a massive celebration party, more of an opportunity to take a breath and pause whilst we all stabilize ourselves and look forward to life after isolation. With this promise of the Emergency Arts Council Grant, Trinity can feel more assured that they will continue to be at the heart of Bristol culture and community engagement that is always people centred”.
Since we began our lockdown Trinity has been working hard to ensure that we continue to reach out to our community and support the independent artists that we work with. We have been providing a digital platform via Trinity Presents. Arts Council support at this crucial point, means we can continue this offer as well as find new ways to support artists to connect communities with relevant and much needed cultural experiences.
]]>In these challenging times, Trinity and Cambridge Junction have come together to offer a £3,000 commission to a D/deaf or Disabled Artist(s) to create work for an online audience.
We will commission one new piece of work and want the brief to be as open as possible, so you can respond in a way that best suits you as an artist. We welcome artists of any practice, working in any art-form, to apply.
We want to commission:
A brand-new online performance/exhibition that can remain available to experience for a set period of time – we want people to be able to experience your work safely from their homes
One artist who identifies as D/deaf or Disabled, or a collective of artists where at least 50% of the collective identify as D/deaf or Disabled
Work that will be completed and distributed online before the end of October 2020
We expect applications to include:
A consideration of audience access within the commission fee
Confirmation that artist access costs are covered by the commission fee or by Access to Work or similar
We will provide:
A commission fee of £3,000
Producing support: we don’t want anyone to be put off if they don’t have producing capacity at the moment
Marketing and digital content support: we want your work to reach far and wide
The platform for sharing your work: Trinity and Cambridge Junction’s social media platforms and those of our partners are readily available to platform your work
At Trinity we programme using a ‘Programming Forum’ which you can find out more about here. The final decision on who receives the commission will be made by a forum made up of local artists and community members from both Trinity and Cambridge Junction.
To apply:
Applications for this opportunity have now closed.
Trinity Presents Garden Sessions. Design by Adam Menzies
Drum roll please… We are ready to welcome you back music lovers! In a specially erected tent in the historic grounds of Trinity, we will be running weekend sessions throughout the Autumn and we cannot wait.
Trinity Presents Garden Sessions will run throughout October, launching its first weekend with Bristol's experimental trio Waldo’s Gift (Oct 16), Livity Sound's Hodge & Danielle (Oct 17), and Dubkasm meets Ashanti Selah (Oct 18).
With Saturday & Sunday being powered by Sinai Soundystem.
“We cannot wait to welcome our music-loving audiences back to Trinity and have worked hard to make sure that we can provide a safe space for our audiences to come and enjoy what they love most - music. We cannot wait to bring well-loved artists, from Bristol and beyond, back to Trinity.” Jamell Ackford, Venue Manager
Ticket buyers can book a table for up to 6 people (from £48 +bf). Drinks will be served via Love My Local and there will be options to purchase food.
Tickets go on sale Sep 16, 10am.
]]>Image Colin Moody
Art of Resistance is a 2-year project exploring 100 years of social activism, protest, and civil disobedience in Bristol, and the art that underpinned each movement.
We're looking for people who have artifacts or stories they would like to share to help build this picture of Bristol as a city of art and activism.
Whether your #resist story or art relates to Workers Rights, Women’s Equality, Anti-Racism, Anti-Fascism - or something else we haven't thought of - we'd love to hear from you.
In particular, we're really interested if any artwork, including poetry, textiles, posters, banners and ephemera, music and performing arts that were used to support and capture the spirit of different movements throughout the ages.
#GetInvolved
If you have digital material you can upload it here: Art Of Resistance Submission form.
If you have a physical item or would like to discus taking part in an interview to tell your own story, please contact info@trinitybristol.org.uk
Keep up to do with the project and other Trinity news and event sign up to our mailing list here.
The project is funded by The National Lottery Heritage Fund.
]]>Vicki Hearne is part of this years cohort of IGNiTE artists in residence (photo @Megan Ashton)
Alexa Ledecky, our very awesome project assistant on our IGNiTE programme, went along to IGNiTE resident artist Vicki Hearne's sharing of the work she is developing here at Trinity - sharing's are an opportunity for artists to receive feedback about their work.
Read on to find out Alexa's thoughts about 'Practically Perfect'.
Last month, Vicki Hearne and her Untold Dance Theatre fellow female performers brought their work in progress to Trinity for a sharing session. Audience members were invited to attend the performance for free and encouraged to share their feeling and impressions about the ideas that have been developed so far. Vicki has been working on “Practically Perfect” as part of her IGNiTE residency with Trinity since early September.
"Unity definitely shone through the dancers and musicians during the performance."
The show uses dance and theatre to explore how most women are often pushed to mould their body into an idea of perfection that society dictates. As the performance began, the lights dimmed and two musicians sat by the side of the scene set the atmosphere with an acoustic guitar and synth live soundtrack. The dancers entered, carried by the ethereal melody and began to tell us their story. A recurring theme became apparent: the female body being objectified with harsh humour and sarcasm.
Vicki had several solid scenes to present to the audience. To mention a few without giving too much away; robotic Barbie dolls, a restaurant serving perfect female bodies on a platter, a “cooking” class on how to make a flawless woman. All those scenes involved folding, crushing bodies and treating them like objects, quite literally making them submit to society’s vision of perfection. The audience was also very receptive to the challenging subjects tackled and invited Untold Dance Theatre to go deeper and make them feel even more uncomfortable. The exploration of a serious subject did not cut out artistic creativity. Each scene was different and the audience stated it will be interesting to see how the “chaos binds with the more flowy parts” in the final performance. Discussing the overall tone of the show, a viewer pointed out: “There are kitsch moments, but those were so precise and clean. The comedy helps with the more earthy parts”.
Vicki and the cast listened to the audience with poise, eager to use this sharing session to develop “Practically Prefect” further. Some open expectations were expressed: “The rhythm was building into something that was establishing. I would like to see everyone go completely wild at some point”. The viewers repeatedly showed excitement about finding out the answers in the finished piece: “What happens the the reject; are they ‘put right’ or are they ‘celebrated for being imperfect’?”.
A woman concluded the discussion by encouraging to celebrate our imperfections rather than to condemn them: “We don’t have to be whole as an individual, we’re whole as a group”. One thing is for certain - unity definitely shone through the dancers and musicians during the performance.
The sharing of the work took place in Trinity's Ffye Hall (photo @Megan Ashton)
Stay tuned for updates on Vicki Hearne and our three other artist residents here on our website.
IGNiTE is supported using public funding by Bristol City Council and by the National Lottery through Arts Council England
]]>Workers hand carved new stone - even during the snow! Photo@Khali Ackford
#1 Emma Harvey, Centre Director
“It has to be when we did some researching into the last wedding that happened on the 26th March 1976 at Trinity. We managed to find someone whose name matched the couples on social media and decided to direct message them. It was moment of high anxiety to see the icon that they where messaging us back!
Thankfully it was to say that they where still happily married and that they were super happy we had contacted them. Cheers from us to them for 42 years together!”
Our Heart & Soul project took place alongside major repairs to Trinity. Here a participant creates woodcuts, inspired by Trinity's history. Photo@Khali Ackford
#2 Fidel Meraz, Trinity Board Member
“Sharing pizza and drinks during an afternoon with the staff and the stonemasons who were doing most of the the material work on the building, is such a wonderful memory.”
#3&4 Karina Castro, Project Manager
“ I am going to choose two .. if that is allowed … first up has to be 'A Waltz Down Memory Lane' (20 April) - a great afternoon of dancing, cakes and memory sharing attended by over 40 people over 55. This was made even more amazing by having Norma's Groovers back at Trinity entertaining our friends.
Dr McClymont's talk looked at how we repurpose old buildings. Photo@Khali Ackford
Then, Dr Katie McClymont's 'and the spirit lingered on' (19 June) - a really engaging talk that got everybody involved (inc Khali, the photographer!) about how historic buildings, particularly former churches, are now used as sites of secular worship and as community hubs."
Centre Director Emma Harvey shares the floor with TCA founder Matthew Hewitt and long standing DM and former Centre Manager Derreck Sterling. Photo@Khali Ackford
#5 Glyn Everett, Chair of Trustees
“I really enjoyed the talk 'Reconstructing Trinity from Disrepair to Glory' (31 July) - A wonderful conversation around the different moments of history that the Trinity has seen, and all the heartfelt effort that has gone into keeping the building open, safe and working for the communities that surround it."
About Heart & Soul
From January to October 2018 we celebrated Trinity's place at the heart of the community through a programme of accessible heritage activities, workshops and events. The activities took place alongside our most recent capital works to conserve and renovate the building and where funded by Heritage Lottery Fund, Historic England, Bristol City Council and other charitable Trusts & Foundations.
]]>Ania sharing her work in progress at Trinity (photo @ Alastair Brookes)
"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.
]]>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
]]>Arts West Side & SPACE joined forces from Apr 2016 to March 2018
“We are very proud of what we've achieved with Arts West Side and are sorry that we aren't able to continue this good work but are glad to see it will continue to be used as an arts space for the next couple of years. Thank you to everyone who has supported us since we took it on it 2011.” Karina Castro, Project Manager.
Last week, we all said a goodbye to a familiar landmark in Old Market, as the friendly pigeons on the façade of Arts West Side – painted by renowned Bristol street artist Silent Hobo – were painted over, marking the end of an era for one of the area’s only dedicated community arts spaces.
Owned by Bristol City Council, 6 West Street was handed over to Trinity Community Arts, via the city’s Community Asset Transfer (CAT) process on a ‘peppercorn’ leasehold. We have been looking after the building since 2011, in order to increase arts provision in Old Market, at a time when the area was struggling with boarded up and vacant premises.
Since then, ‘Arts West Side’ has provided artists and communities with an affordable, central resource used and visited by over 2,000 people each year, helping to encourage other businesses and social enterprises to take up residency in the area. As part of the Council's bid to plug a £102m deficit, they are now seeking a commercial rent from the building.
The space will continue to be used as a meanwhile creative hub at a reduced rent by Arts West Side partners for the last 18 months, Artspace Lifespace (ASLS), who will continue their SPACE project until 2020.
We will now focus our efforts on the Trinity Centre building, which is also owned by Bristol City Council. We are currently fundraising to carry out conservation work to the much-loved community asset, having already invested over £1.5 million in protecting the Grade II* listed building.
People gather outside Trinity at the start of the walks
This year we have four free guided walks around Trinity and Old Market. The walks are part of Heat & Soul – a year long programme of heritage events, talks, and workshops. The guided walks, led by Dr Edson Burton are an opportunity for people to find out more about the history, and present of Trinity and Old Market. Tess, our excellent heritage intern – joined Edson on the second instalment of the walks.
People gather in Trinity's main hall photo@Khali Ackford
The walk began inside Trinity’s main hall. Edson talked us through the history of Trinity from when it was a Church, through to desconscreation and first transformation as community arts venue managed by the Caribbean Community Association through to its current custodians, since 2004 Trinity Community Arts.
A visual timeline of Trinity past, present and future hangs in the main hall photo @Khali Ackford
Trinity has a covenant on it stating its purpose must be for social good whether that is education or community. Therefore a thread which has run through Trinity’s history is its use as a vocational skills education centre. Alongside this, Trinity is known for its music history – and has been host to the likes of Public Enemy, The Prodigy, U2, Madness, the Specials and the home of the Bristol Sound.
Funded was secured to transform Ffye Hall into a performance space photo @Khali Ackford
We then headed upstairs to Fyfe Hall, named after one of its founder members of TCA Nick Fyfe. As part of TCA’s commitment to repairing and conserving the building funding was secured that built on earlier renovation work. The second floor was transformed into a beautiful dance/theatre/wedding space with sprung floor and underfloor heating.
Learning about the not so pleasant Amelia Dyer... photo @Khali Ackford
Before leaving Trinity's gates Edson told us a little of the story of Trinity Road. Some of the local history isn’t particularly pleasant such as Amelia Dyer who lived a stone’s throw from Trinity. Over thirty years during the 1800s she took money to re-home babies unwanted babies. To ‘make an angel’ to use the expression. She was found to have killed an estimated 200-400 baby deaths caused by many babies across the UK. Amelia was hanged in 1896.
Even over grown gardens have a story to tell in Old Market photo @Khali Ackford
Edson started the walk down Braggs Lane so that we would begin the tour at the bottom of the Old Market. Edson pointed out various places of that were part of the meat trade a major industry in the Old Market area. This area used to be home to an abattoir, tannery and lard factory. We emerged at the Old Market roundabout where Edson spoke about the Empire Theater. Hollywood star Bristol born Cary Grant started his career working at the Empire. His friends remembered him having a broad Bristolian accent, not the transatlantic one he became famous for.
Building Temple Way changed the look of Old Market forever photo @Khali Ackford
We continued walking down Old Market Street and West Street, with fascinating snippets about the history of Kings Cinema, the Stag and Hounds pub and John Barstaple's almshouses, the Drill Hall and Kingsley Hall. As well as explaining passing on dates that the buildings were built Edson explained the changing fortunes of the street for example the decision to knock down a third of Old Market in order to create Temple Way. These explanations helped us to understand why some of the most iconic spaces in the street closed and how the Gay Quarter developed during the street's decline. The attendees added memories and family anecdotes of weddings, relations, working and socialising.
Our next heritage walk is July 31, places are free but you need to book online. We also have an online interactive archive of Trinity and Old Market, have an explore.
Heart & Soul: celebrating major life events at Trinity is a year long project running alongside our current works to repair and protect the Trinity building. You can find out more about the project here or find out about the building works, including how to support our current fundraising campaign, raising funds to secure Trinity's past, future and present.
We welcomed Wilbert Smith from Heritage Lottery Fund to the celebration
Andy Council's Trinity Fox finds a home in the main hall
We opened up Trinity so all could have a look around - here participants from The Democratic Set check out The Visible Girls exhibition
Heart & Soul intern Tess chats with attendees at the celebration
Trinity member Stacey from Up Our Street places her vote
Trinity Centre Director Emma Harvey talks about the Heart & Soul project
Simi from Awaz, a weekly community group held at Trinity takes a moment to say thank you
Volunteer Rob's History of Trinity music set awed us all
Love this album? Then check out our Facebook for more photos.
]]>Students gather in Fyfe Hall for a session professional DJ and Foley sound for film (photo @ Alastair Brookes)
Our Summer Music Sessions are an opportunity for young people of all abilities to come to Trinity and try out different accepts of music making. The sessions are delivered over two days, meaning young people have the opportunity to take part in a variety of workshops and sessions.
Young people perform with the in-house band (photo @ Alastair Brookes)
This year we worked in partnership with Access Creative College who delivered workshops in professional DJ and Foley sound for film, while our own in-house team of awesome tutors, Al, Ed, Matt, Oli and Jack, delivered sessions ranging from live performance to Vocal Recording to Beat Making.
"I love music. More time!! Make it longer, thank you!" Participant, Summer Music Session
Our highlights include a beat boxing shows case from professional performer Jack Salt (The Inexplicables, Ushti Baba) and welcoming Charlie Grier from Access Creative Music who shared his DJ’ing skills to the group.
Students had the opportunity to perform with professional musicians (photo @ Alastair Brookes)
"We should have these sessions more regularly for everyone to mix and share ideas" Participant, Summer Music Session
Some brilliant performances from young people – Sam performed his original songs (from his new EP recorded at Trinity), Collins rapped over live beats provided by Charlie from Access Creative Music, Rob playing Djembe drum as part of the live performance backed by Trinity house band
and the final live performance showcase with support from Oli (on the drums) Matt (on the bass) and Charlie on the decks.
Georgia came along for the Summer Sessions and really enjoyed getting involved and trying out the different music making activities (photo @ Alastair Brookes)
Aged 13 - 25 and want to gain new music making skills? Then get in touch with Dave.
Trinity's Summer Music Sessions are delivered as part of Making Tracks, a collaborative project between Basement Studios, ACE and Trinity. Making tracks is funded by Youth Music.
]]>Jackie Hagan's This Is Not A Safe Space celebrates the weird, the wonky, the unruly, and the resilient (Oct 19)
Our Autumn 2018 season of our in house theatre and dance programme, IGNiTE , presents four shows whose themes ask: How far have we actually come?
"Politics, race, gender, sexuality, poverty, crime, austerity, pay gaps, #metoo our society seems deeply polarised. IGNiTE presents four shows that are in different ways providing a snapshot of our divided times and ask: how far have we come?” Rhiannon Jones Programme Manager
Launching on October 19 with award winning comedian and writer, Jackie Hagan’s This Is Not A Safe Space. Commissioned by Unlimited, Jackie conducted interviews with people from all over the country living on the fringes and the spaces in between. These are not sob stories - they are well rounded lives full of the spiky humor and the complicated weirdness of being human. Jackie weaves these narratives together with poetry and anecdotes, in a performance celebrating the weird, the wonky, the unruly, and the resilient.
An all female cast feature in The Forecast, by Limbik Theatre (Oct 20). Based on George Saunders’ short story The Semplica Girl Diaries. Set in the not too distant future, the latest must-have consumer craze and status symbol are Human Garden Ornaments; women, from developing countries, hoisted up in affluent backyards, thin wires through their brains connecting them to news, travel, weather. In The Forecast, we hear what life is like for the four of them in this dystopian theatre piece. It could never happen...could it?
Rachael Young and badass band of super-humans embrace Afrofuturism and the cult of Grace Jones in: Nightclubbing (Nov 2)
Next up, join award winning Rachael Young and her badass band of super-humans as they embrace Afrofuturism, the cult of Grace Jones and intergalactic visions to start a revolution in Nightclubbing (Nov 2). This explosive dance performance traces the connections between Grace Jones’ 1981 landmark album ‘Nightclubbing’ and a London club's refusal to admit three Black women on the grounds of race in 2015?
'It is more than OK to be this way' in Sardoville's For Only An Hour (Nov 24)
Tackling the continuing oppression of LGBTQ++ community, Sardoville’s one man romp For Only An Hour (Nov 24) is a queer manifesto told through dance, song, spoken word and performance art. Created in response to the 2017 persecution of the LGBTQ++ community in Chechnya, this show is about celebrating who we are, and offering support to a new generation by saying: it’s more than OK 'to be this way'.
IGNiTE resident artist Vicki Browne will develop a new piece of work 'Hyper Fem'
Throughout the season there are opportunities for public to take part and get more involved. From joining in the conversation in one of our post show talk backs, dancing the night away at our post show club night following Nightclubbing’s to signing up to one of our Artist led workshops. Keep an eye on our website for updates.
As part of the IGNiTE programme Trinity will be supporting four resident artists across the year who will receiving professional support and developing work in Trinity’s performance space – Fyfe Hall. Bristol based artists Ania Varez, Roxana Vilk, Vicki Hearne and Viki Browne will all receive professional help and support, rehearsal space and a bursary to develop new work at Trinity.
Previous IGNITE residents include performance artist Caroline Williams, dance practitioners Ella Mesma, Sara Dos Santos and Latisha Cesar, theatre makers Uninvited Guests and Back in 5 Minutes Squad who joined up with disability led arts organisation Art in Motion.
Tickets to all IGNiTE shows are priced at £11 standard and £9 for concessions and can be purchased online at trinitybristol.org.uk
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 Bristol City Council and by the National Lottery through Arts Council England
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