TRINITY COMMUNITY ARTS PROGRAMME STRATEGY

The , Trinity Road, , BS2 0NW 0117 935 1200 / [email protected] @trinitybristol facebook.com/trinitybristol www.trinitybristol.org.uk

Trinity Community Arts – Reg Charity No.1144770 / Company No.4372577 TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY

Introduction

Trinity has built a strong reputation for engagement across different communities and across different disciplines. It is a well-established music venue, and has further developed as a centre for learning and creative activity.

The Trinity Centre is used by over 50,000 people each year across over 250 activities and events. This offer has been enhanced by recent capital developments which are part of a wide and ongoing programme of increasing capacity and improving visitor experience.

The need to develop our Programme Strategy has been identified as part of discussions with The Paul Hamlyn Foundation and The Arts Council. Strategic investment at this point of our development will add significant value to our work and investment to date, and is of critical significance in supporting our future progression and long-term sustainability.

In developing this Programme Strategy, we have talked to a range of our key stakeholders, including centre users, staff, Board members and representatives of other Bristol arts organisations. The strategy has also been informed by previous work, consultation and Trinity strategy documents, including our business plan. Our starting premise was that we want to add value to existing activity rather than change our approach; to increase connectivity and audience participation between different strands; and to raise the bar for the ambitions and performance of this unique Bristol venue. While this is a new strategy, it takes its cues from our journey to date, maintains our current strengths, and identifies key ways in which we can significantly improve our delivery and impact.

“ These days, the Arts have to fight for their place in our society and I saw when I visited Trinity that it is not only committed to encouraging and fostering the Arts in Bristol, but also to ensure young people from diverse backgrounds experience all aspects of art and enable

them to realise their dreams.”Miriam Margolyes OBE,Patron,Trinity Community Arts TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY

Key aims National context

Through this process we have identified the following Warwick Commission Report 2015 deeply practical and overarching aims: The national context is clear; the Warwick Commission Report • To work together with the wider sector to effect real 2015, Culture, Creativity and Growth, presented a compelling change in diversifying participation in the arts in Bristol case for change: • To add value to the existing offer through building on our strengths and heritage “A strategic shift is needed from a funding and policy • To better facilitate the journey of our audiences and infrastructure that focuses on the support of the supply participants between our different events and activities, of cultural experiences, to an approach that address in terms of: un-representative levels of diversity and participation as Exploration: attending events, performances and an equally important objective of policy and strategic encountering cross-cultural artists and ideas that might be development for the arts, culture and heritage.” new, challenging and transformative Progression: allowing for opportunities at any entry point, The Warwick report is based on the principal understanding particularly for young people, that can support and/or that culture, creativity and learning exist together within a signpost further progression within the overarching context distinct and symbiotic eco-system. From a very young age, of our learning and arts provision including within school education, a pattern is established relative to the amount of access to creative opportunity, expectation and funding that individuals have; current levels of participation correlate with a more comfortable socio- economic and largely white background.

This is a significant issue of equality for individuals, but also impacts on the health and strength of our cultural and creative sector; on its relevance to diverse communities, and its efficacy in promoting social and cultural cohesion through exchange and understanding.

“ The wealthiest, better educated and least ethnically diverse 8% of the population forms the most culturally active segment of all; between 2012 and 2015 they accounted for (in the most conservative estimate possible) at least 28% of live attendance

to theatre.” Warwick Commission Report 2015 TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY

Local context

The local context is also clear; while Bristol is one of only Place two locations outside London to make the top 20 list of UK creative and high tech clusters, and is wealthy compared Neutrality: The geography/topography of where Trinity is to other core cities in England, it has the lowest per capita based, located at a key point between three wards (Easton, spend on cultural activity, and contains a number of the Lawrence Hill/Barton Hill and Ashley Ward comprising St most economically deprived areas in the UK. Paul’s, St Werburgh’s and St Agnes), is seen as a neutral space, not belonging to any particular ward. Trinity is used by the The three inner-city wards that surround the Trinity building Hindu, Sikh and Muslim communities, and has connections are among those, and also show the highest number of with diverse nation groups for example Gambia and Somalia. BME residents – (Lawrence Hill 32%, Ashley, 26% and Easton Unlike many venues in Bristol and in wider UK, it has not 25%). As in the UK arts and creative sector at large, Bristol’s become associated with a particular hegemony, and this holds thriving creative scene reflects a largely white population major significance in its ability to continue to both function in both activation and participation. as an open centre and to continue to be perceived as open.

Trinity’s mission is to empower communities through the arts. Cultural breadth: Trinity has the advantage of being many Encompassing learning, culture and creativity, its mission different things to different people. It’s capacity and culture and activity strands reflect the highly dynamic potential of has meant that it can occupy a place in people’s imagination, this eco-system as described in the Warwick Commission experience and heritage as a music gig venue, a performance/ report. It’s strength and significance to the wider Bristol arts place, a learning, celebration and activity place, community ecology lies in its connective potential between individuals and a meeting place. While that can provide challenges in and communities, and between different cultural forms. Its terms of marketing and identity, this also has powerful potential capacity to bring these constituents together is based on to create bridges between participants and audiences, and the following key elements: Trinity’s established place in the to provide crossing places between them, allowing people locality, and in cultural experience and memory; the nature to access a full range of activity and experience. and flexibility of its space; and the relationships that it has established and grown. Heritage: Trinity has been a music venue since 1976 and is often cited as the birthplace of ‘The Bristol Sound’. The reach of a venue is in a large part dependent on its past journey, reputation and heritage. A word often connected with Trinity that carries surprising weight in our monetized terms is affection – for its music, theatre, event, community and social activity. This connection to emotional memory is an important one for any venue to recognise and nurture, and is a factor in continuing to attract artists and performers of high calibre to the centre, as well as a high and diverse footfall built up over many years.

“ Trinity is a stunning local landmark, and a beautiful space... Everyone involved has shown remarkable creativity in conceiving new uses and activities.” Councillor Simon Cook, Cabinet Member for Culture and Sport TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY

Space

Trinity has indoor and outdoor space that offers a highly flexible mix of opportunities. The redeveloped and flexible space upstairs and the space downstairs can be re-invented for different uses throughout the day, weeks and year.

Trinity offers a total standing capacity of 600 downstairs, together with a capacity of 300 upstairs, offering a capacity range not replicated in any other Bristol venue

The spaces can be adapted for music gigs and more formal/ intimate concerts, performance including theatre and dance (with a sprung floor upstairs) film showings and a range of events including weddings; a bar and kitchen area support events.

Well-equipped music training and recording facilities back up the learning programmes. With blackout drapes and technical lighting, Fyfe Hall is a versatile space for performance and rehearsal; such space identified as urgently needed by partners in the sector.

Trinity is able to provide space for both performance and rehearsal with short lead-in time; fundraising is taking place to increase capacity and resources in technical support which will both improve efficiency and increase income generation potential through being able to charge for these resources for external hire.

A key programme strand, Trinity Community Initiative (TCI) offers a subsidised and affordable space for a range of groups using it as meeting, event and activity spaces. In 2015 we supported 140 groups through the TCI providing over 2,500 hrs of free or subsidized space for arts and community activities and events, engaging over 24,000 participants. Trinity aims for a balance of regular bookings and space in which to be able to be responsive to need as it is requested, maintaining openness to new groups and events.

The outdoor garden extends and enhances the indoor space, and is run by a community group supported by Trinity in capacity and management, opening opportunities for learning, skill sharing and social activity. The car-park has been improved and offers both a service to Trinity users and audiences, as well as income to support core overheads.

“ Trinity Bristol is a fantastic space with endless possibilities

and a truly musical spirit.” Damon Albarn TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY

Relationships

As a church, and in its more recent history as an arts centre, Trinity has held affectionate relationship with its local community since 1832. Through its creative partnerships, and the development of the Ignite scheme which is driving this programme strategy, Trinity is increasingly establishing its place in the Bristol ecology as a connective element, adding value to resources and reach of other venues through availability of space and through its established relationships with target audiences.

It has a high diversity of constituent users, who in turn relate to Trinity in diverse ways (eg. audience member, volunteer, learner, community group member)

Strong relationships have been built with local young people taking part in the learning programmes

Trust and good relationships have been established with a number of BAME communities, many of whom have been using the centre long-term

There are also strong relationships with promoters and artists – for example Trinity showcases the Mercury prize winners, and has been a venue of choice for bigger artists such as Duran Duran and Damon Albarn

Trinity supports emerging artists by offering creation, rehearsal and platform/sharing space, and is developing productive relationships with key partners in the Bristol arts sector, particularly MAYK, Ferment, In Between Time and Theatre Bristol, through artist development opportunities and festival programming

These elements set the scene for developing our programme based on the key themes of heritage, connectivity and diversity. We aim to address these within a five-year framework, acknowledging our challenges and setting out our key strategic priorities.

“ The Trinity Centre is an important hub in Bristol and delivers valuable work in bringing together various communities that would not normally mix. It is a vital resource providing many community/voluntary groups and organisations with great facilities for meetings and events and

support to develop their activities and reach.” Sarah Minter, Development Manager, LGBT Bristol TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY

Key challenges

We recognise that there are still significant challenges in achieving the full potential of the Trinity Centre. We are currently about a third of the way through a £3m scheme of phased works that, once completed, will help to ensure we can optimise use of the building and increase revenue streams. The work undertaken so far has brought us from being loss-making to breaking even, and further investment is needed to take us further towards sustainability.

We recognise that there is a significant challenge in increasing our programme while remaining open and responsive to new and short notice bookings; in balancing commercial and subsidised activity; and in increasing activity that does not overstretch core capacity.

We also know that while we reach communities, we do not fulfil the potential to connect communities. In terms of inclusion, as John Dyer said, ‘there is a difference in inviting people to the party and asking them to dance.’.There are many missing bridging points along the road to inclusion that are largely invisible to people already dancing. We want to be able to put in place some linking elements that allow for exploration, exchange and progression. While these are happening in a very organic way, within the limit of our current capacity we are only able to nudge things along within the remit of our existing resources, and the need to generate revenue means that existing capacity for programming and event delivery is consumed in pursuit of this.

The strategy outlined below identifies ways that we can both retain the organic nature of the connections, and with increased resources, steward and support an increase of cultural experience, understanding and exchange.

“ Diversity is asking someone to a party. Inclusion is asking

them to dance.” John Dyer, Director of Credibility TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY

Programme strategy

Trinity’s offer and placement within the city and the sector • We will explore regular thematic programming of the resonates with John Knell’s comment at the Arts Council upstairs and downstairs spaces together, for example ‘No Boundaries’ conference this year: running a main gig downstairs, with workshops based on the music/genre upstairs, together with wrap-around “We need to foster a glorious messy plurality and activity and opportunity to showcase student work. vibrancy, supported by a stronger, more collaborative • While we want to remain eclectic, we recognise that we cultural sector.” also have the opportunity to develop a more distinct offer that complements, and does not replicate, other Within our stated aims as above, we are seeking to develop Bristol venues. Together with music/, a theme a programme strategy that is relevant, pro-active, and that enhances our learning and cross-cultural agenda is ambitious. Our offer is eclectic and we want it to remain story-telling, through dance, drama and spoken word, so: our challenge is to harness this plurality and to create and provides a potential area to focus on in terms of vibrancy by focusing on the linking elements between them. programming of new work. • We will work closely with other partners, specifically Theatre Adding value to audiences and the ecology: Bristol, Ferment, MAYK and In Between what we plan to do Time to develop a strategic artist development programme, A key priority for Trinity within this strategy is to become which co-ordinates resources and support, allowing artists more pro-active in its programming, and to be able to take to ‘journey’ through different stages and different partners risk in booking performances that are ambitious, relevant, without having to knock on each door individually. Our part in and challenging, but are not necessarily commercial this is our capacity to allocate creation and rehearsal capacity, decisions. We see that we are both custodians of space and plus platforming and performance space. As outlined below a also that we have a role in pro-actively curating space, and key focus is to increase the diversity of artists, producers and the objectives outlined below reflect this position. technicians who can benefit from this approach. • We will work pro-actively with our community partners to programme artists and performers from diverse cultural backgrounds. We will also work closely with arts sector partners including Come the Revolution, MAYK, and In Between Time, to programme exciting new work that provides the best fit to Trinity’s thematic priorities and to locality interest. Through this we aim to expand our national and international links and profile. • We will continue to develop a seasonal and thematic calendar of events and programmes, built both around city-wide festivals and around national/international events and movements, for example, capitalising on the growing momentum in the city around holocaust memorial day, LGBT events and issues, Black History Month. • We will develop and promote summer programmes aimed at family participation, utilising space and resources at a time when traditionally there are a lower number of bookings; expanding opportunities for children, young people and their parents to engage together in new learning and creative activities.

“ We need to foster a glorious messy plurality and vibrancy, supported

by a stronger, more collaborative cultural sector.” John Knell, Chair of Sound and Music TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY

• We will invite all programmed and resident artists to work “If you break down most institutional models…one with us on this approach to artist development, for example would be a monastery and one would be a square. In the by: offering wrap-around workshops and masterclasses; monastery…ideas are developed or presented by minds allowing students to shadow their technicians /stage that think alike…they are inside out. But the other model, managers; offering a pre-gig event such as a Q & A, possibly the square, is a form of instituting without a finality in led by young people; opening rehearsals to students. sight…I am for an institution that is not located in a space, • An important aspect of our programming is our ability but in the psyche of the people it engages with.” to respond to short notice and new bookings. Trinity Transcript from Vasif Kortun’s talk at No Boundaries 2015. Community Initiative (TCI), our subsidised space initiative, continues to be an important thread. We will ring-fence a Invitation to select work: Through an established proportion of our bookable time and space for this as we programming forum, we will invite constituent members want to continue to serve the local community with meeting of Trinity to programme work and events that are relevant and event space and allow new groups to book. to them and their communities. In the consultation on this strategy with our stakeholders, we heard there is a will to work Increasing diversity and strengthening connections: with us in identifying artists and work that they would like to how we plan to do this see. This includes for example, working with the Senegambian Cultural activity emanates from the lives of individuals group who run events under the name Hidden Talents, to and societies, made up of many threads of heritage, book West African musicians that come to London but rarely common experience and exchange of ideas. It is not tour outside the capital, tying in with their annual celebration something that can be handed out complete, as a finite event; programming Bollywood films and Indian music such offering, and assumptions can’t be made about universal as tabla and sitar players; offering a lead to different groups relevance. Trinity aims to work with its diverse constituencies in finding artists and performers that can be showcased at to provide a programme that is relevant and responsive regular calendar events such as the Garden Party. to existing participants and groups. Expanding opportunities: We recognise that popular culture provides an entry point that can be used to encourage people to experience other art forms. For example, Hype is a street dance group which attracts a high number of local young people and is a long-established Trinity user. With additional resources we can work with them to expand their offer by programming key street dance artists, bringing in guest instructors, offering subsidised opportunities to see other forms of contemporary dance programmed.

Economic Inclusion: We see economic inclusion as a key part of this active inclusion; people who are not used to prioritising spend on cultural experiences take a bigger risk in buying tickets for events and performances. Linked to economic hardship and low income, this risk is then greatly proportionally increased. We want to offer some pay-as-you- wish prices and/or lower ticket prices linked to Trinity activity membership.

“ I am for an institution that is not located in a space, but in the

psyche of the people it engages with.” Vasif Kortun, Director of Research and Programs at SALT TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY

Networking and sharing opportunities: We want to set up ‘bridging points’ in our schedule, for example booking slots where different users of the space are invited/encouraged to share some food and drink together, e.g. early evenings. Sharing different kinds of food is in itself a significant form of cultural exchange, and sharing food itself a universal bridge. Cheap or free food is therefore an essential part of this, and different constituencies could be invited to cook food from their culture.

Family inclusion: We will look at ways of strengthening the family activity programme, by scheduling in more family events and/or setting up a family time as part of another event (for example an activity linked to a performance or event that is showcased earlier in the evening including workshops, curtain raisers).

Opening opportunities for debate: We want to explore scheduling ‘hot topic’ debates, possibly using open space technology, to open up opportunities to discuss face-to-face contemporary issues that are often polarised in expression through social and public media; ensuring that direct invitations are made to a wide range of people as well as within open publicity

Expanding diversity in creative industry: We have the opportunity to expand both the scope and the reach of artist development to incorporate learning activities in Trinity – through actively developing and promoting opportunities for young people who are involved in our programmes to take further steps in all aspects of the creative industry, including as artist, producer and technician; working with other arts sector partners to provide bursaries, internships and commissioning opportunities targeted at students and local young people.

Making our offer visible: We will in our internal and external communication strategy give attention to how we can make each activity strand more visible and inter-connected, utilising for example word of mouth, social media, notice boards and newsletters, and harnessing our key members and stakeholders as Trinity ambassadors.

“ The Trinity Centre is a case in point of how old historic buildings can be given a new lease of life and once again become a key part

of the community.” Andrew Vines, Planning and Conservation Director, English Heritage South West TRINITY COMMUNITY ARTS – PROGRAMME STRATEGY 11

Next steps

The development of this Programme Strategy is the start of a long-term process to increase our capability to deliver events to the highest standard and achieve artistic excellence for arts activities delivered by diverse communities.

Through implementation of this strategy, we will refine our offer and establish a more proactive programming approach, alongside sustaining our flexible approach to new ideas and partnerships.

We will capitalise on our unique location and heritage, so that we can continue to provide a much-needed creative hub for inner-city communities, develop activities that target new audiences and ensure more people can experience and be inspired by the arts. Emma Harvey, Centre Manager

Trinity’s evolution from a community centre and independent music venue to a multi-use arts centre underpins our unique position and approach within Bristol’s arts ecology that can inform wider sector development. The Ignite project will provide an embodiment for this programme strategy. We will provide a flagship model of inclusivity for the sector, employing the ‘town square’ method; working with our communities to curate and animate the space; working with artists and organisations to ensure quality - rather than the traditional ‘monastery’ approach; directing a programme Images courtesy of: Asian Arts Agency / Jessica Bartolini / from a singular perspective (Vasif Kortun). Khali Ackford Photography / Lee Ramsey Photography / Phase 8 Photography / What The F4 Photography / BIG FISH LITTLE FISH / Supported residencies and strengthened partnerships will BBC 6 MUSIC / EBC / PITCHLAKE PRODUCTIONS help to raise and maintain the quality of works created in the city, in particular, raising the quality of output and delivery of works created by minority groups. Investment in capacity, technical capabilities and artist development will help raise quality of diverse arts, improving overall art-form impact. Hosted sharings, peer feedback and learning from different perspectives will support this development. Rhiannon Jones, Programme Manager

“ Trinity is a Centre for the People – we want to make sure that everyone has the opportunity to shape arts

and culture in Bristol.” Emma Harvey, Centre Manager, Trinity Community Arts