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United Nations Educational Scientific and Cultural Organization (UNESCO)
The Performing Arts Centre Project‘s research has been informed by the work of the United Nations Educational Scientific and Cultural Organization (UNESCO), an agency that promotes education, communication and the arts.
UNESCO includes all expressions of live cultural events when defining the categories of Performance and Celebra-tion. The 2009 UNESCO framework for cultural statistics outlines the following:
The category of Performing Arts includes both professional and amateur activities, such as theatre, dance, opera and puppetry. It also includes the celebration of cultural events –Festivals, Feasts and Fairs–that occur locally and can be informal in nature.
Music is defined in its entirety, regardless of format. It includes live and recorded musical performances, music composition, music recordings, digital music including music downloads and uploads, and musical instruments.
The Performing Arts Centre Project extends
its appreciation to Masterworks, the
Green Family and the following schools for
the use of the artwork featured in this report:
The Bermuda High School for Girls
Clearwater Middle School
Dellwood Middle School
The Education Centre
Learning Express Academy
Mount Saint Agnes Academy
Saltus Grammar School
Sandys Middle School
Somersfield Academy
T.N. Tatem Middle School
Whitney Institute Middle School
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Table of Contents
Letter from the President...................................3
Overview.............................................................5
What We Found................................................11
Research using Appreciative Inquiry..................17
Appendix...........................................................21
a. Previous Performing Arts Centre
Initiatives in Bermuda..............................21
b. Advisors...................................................23
c. Interview and Round Table Participants.....24
Appendix
a. Performing Arts Initiatives in Bermuda
b. Project Team
c. Interviewees
This report is published by
The Centre Limited. The Centre’s
long-term objective is “to develop
in Bermuda a centre for performing
arts having fine acoustics and
flexibility in uses.” The first stage of
The Performing Arts Centre Project
consisted entirely of research
conducted throughout 2010 involving
a cross-section of people in Bermuda.
The Performing Arts Centre Project
used Appreciative Inquiry to
encourage and enable the
community to determine how such
a centre will benefit all Bermuda,
especially its young people.
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Be Bermudian. The best you can be. And in the performing arts we have something that is Bermudian. Let’s find it, let’s develop it.
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– Performer/Teacher
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Letter from the President
Members of the Board of Directors of The Centre Limited, During the past year, many rich and meaningful relationships have been forged, and many rich and meaningful experiences have been enjoyed during the appreciative inquiry which we have conducted for you into the power of performing arts in Bermuda. More than three hundred residents of Bermuda opened their hearts during the interview process which is the core of this project’s research. Your team has heard stories of personal insight and collective revelation. We have witnessed universal affirmation of the wealth of talent that Bermuda enjoys within itself, and of the power of the performing arts to transform lives. Through it all, we have been moved and inspired. The performing arts bring people together to share an enlivening experience. The stories we have been told cut across gender, age, race, physical ability and nationality. They reveal more about Bermuda, and what makes it the home we love, than we could have imagined when we started this research project a year and a half ago. The report we now present to you contains important information about how the Bermuda community holds the performing arts. And it reveals an even more important truth: the proud and gentle people of Bermuda care deeply about each other; they want with all their hearts to live in harmony with each other; and, if given a chance, they will work passionately to find ways to do so. Your team’s research has revealed opportunities to bring together diverse members of the community, and to create new partnerships and opportunities for innovative collaboration. We hope the decision that is now to be made about the future of The Performing Arts Centre Project will enable these relationships to arise and to flourish. We hope you can enable us to take this opportunity out to all Bermuda, for all Bermuda to develop it together. Bermuda wants to do this.
Richard D. Butterfield President, The Centre Limited
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It calms you... it takes a lot of negative energy out of you because if you’re mad about something, you can walk into a dance room, dance it out by yourself. You can draw it on a piece of paper, you can write it, you can sing it, you can play it.
– Student
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Overview
In 2009, the Board of Directors of The Centre Limited, a Bermuda registered charity, established
The Performing Arts Centre Project with the objective of encouraging and enabling the
community to determine how a performing arts centre, having fine acoustics
and flexibility of uses, will benefit all Bermuda, especially its young people.
The first phase of the project was completed in 2010. It consisted entirely
of qualitative research using an appreciative inquiry protocol. The use
of Appreciative Inquiry (AI) to support the research process was driven
by the belief that AI would enable the community to reveal its true
level of desire for a centre dedicated to the performing arts.
This document is designed to give The Centre Limited’s Board of
Directors enough information to make a decision about whether to
proceed to a second phase in this project.
Research
More than 300 Bermuda residents participated in the AI process,
representing a broad cross-section of members of the community, includ-
ing many who are either directly or indirectly involved in the performing
arts. A list of participants can be found on page 24 of this report.
Although this was a qualitative study, care was taken to make sure that
the demographics of The Performing Arts Centre Project’s research
approximate those of the Bermuda population aged 15 and older.
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It has been determined that the 288 individual interviews and nine round
tables (319 people in total) that form the basis of the project’s research
more than meet the requirements for a valid qualitative survey and, in fact,
mirror the requirements for a sound statistical survey.1
1 Global Director Analytics Division, Interbrand
Number Project Government Interviewed Statistics Statistics2 [2000]
Bermudian 278 87% 79% Non-Bermudian 41 13% 21%
Female 162 51% 52% Male 157 49% 48%
Black 159 50% 61% White 136 42% 39% - white Other 24 8% and other
15-19 41 13% 6% 20-29 35 11% 13% 30-39 34 11% 19% 40-49 53 17% 17% 50-59 73 23% 12% 60-69 43 13% 8% 70-79 30 9% 5% 80-89 8 3% 1% 90+ 2 1% 1%
Profile of Interviewees
2Source: 2000 Census – Department of Statistics,
Bermuda Government
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Themes
Using software designed to support qualitative research and working from verbatim transcripts of one-on-one interviews as well as group round tables, ten themes emerged and were used to organise the community’s feedback.
Talent Audience
Emotions Identity
Place Diversity
Benefit to Bermuda Bricks and Mortar
Education Communication
We should be able to see performing arts be pivotal in the transformation in Bermuda’s life.
0
500
1000
1500
2000
Total Mentions by Themesfor 288 interviews and 9 round tables
– Non-Profit Executive Director
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Talent
The quality of talent in Bermuda is much higher than would be expected of a population of 64,500, with thousands of young people involved in music, dance, drama and other forms of the performing arts. Amateur groups are intensely committed to their organisations, but there is little collaboration and communication between groups.• Performers feel their talent is considered a hobby and is not valued as a skill to be developed professionally.• Young people don’t know to whom to turn for knowledgeable guidance as they consider a career in the performing arts. Emotions
• The feelings generated by performing or by witnessing a performance are often felt at a visceral level. • Artists experience a sense of self-discovery and validation that lasts long after the experience of performing is over.• Audience members feel a euphoria in sharing a meaningful performing arts experience that transcends race, gender, age and socio-economic status.
Place
• A centrally located facility that is welcoming and that encourages diverse forms of creative expression enables collaboration among Bermuda residents.• A space that offers an opportunity for formal and informal gatherings related to performing arts fosters a spirit of community.
Benefit to Bermuda
• Having a purpose-built centre for the performing arts would be a boon for the tourism and hospitality industry.• Providing a prestigious venue for local and international entertainment as well as corporate meetings would help to restore Bermuda’s reputation as a premier leisure and business destination.
Education
• The performing arts are considered critical to the development of well-rounded students.• There is broad-based agreement that the performing arts should be a part of every school’s curriculum.
Five themes generated more than 70% of all coded passages in both interviews and round tables and can be summarised as follows:
– Rowan Vickers
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• Research participants would like an educational component to be included in a performing arts centre’s programming.• There is significant support for a performing arts school. (This is not the mandate of this project but the data related to this theme will be shared with organisations currently looking at the establishment of schools with special concentration on the performing arts.)
The themes of Audience, Identity and Communication captured more than 1,500 comments in total. They addressed the transcendent experience of being an audience member as well as the manner in which performing arts enable a positive sense of identity and improved communication between diverse segments of the population.
Research participants also made pointed comments related to the themes of Diversity (the manner in which a performing arts centre would celebrate and promote diversity) as well as Bricks and Mortar (the type of facility that should be built). It was not the purpose of this phase of The Performing Arts Centre Project to identify what type of centre should be built or where it should be located, but the information will be useful if a decision is made to proceed to a second phase in the project.
Diversity
• To research participants who lived through Bermuda’s struggle with desegregation and who vividly remember the pivotal 1959 Theatre Boycott, a new facility that carries no painful historical baggage represents an opportunity for healing.• Young people are chafing at what they perceive as artificially imposed divisions in the community; there is a hunger to work together but a frustration at the limited opportunities for doing so. • Residents with physical limitations are eager for an accessible facility that will enable them to participate in the performing arts.
Bricks and Mortar
• Main and workshop performance spaces with fine acoustics are considered an imperative for any new facility. • Opportunities to utilise new technologies–recording capabilities, web-enabled live streaming of events including interactive connections to schools and the world–were mentioned as potential advantages of a new facility. • Opportunities to feature artisans related to performing arts (e.g. guitar makers) were noted.• Although there are several performance venues in Bermuda, none offers rehearsal, construction and storage space at affordable rental rates. Participants feel the facility should include an exhibition space for visual arts as well as space for corporate meetings and for educational workshops.
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I think it’s because of expediency and also economics that the performing arts (have) been seen to be expendable…If you go anyplace in the world, a mark of their existence and identity is through their cultural revelations particularly showcased through the performing, visual and literary arts.
– Community Leader
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Far more than a physical facility, the community sees the value of a centre as the nucleus
of a sustainable performing arts “ecosystem.” Interviewees cite numerous opportunities
for such a centre to offer intangible as well as tangible community benefits.
The members of the team working on The Performing Arts Centre Project noted a
yearning among Bermuda residents for a place that enables a coming together of
like-minded souls intent upon sharing the voyage of creative discovery together.
Consistently, community voices cite the potential for the performing arts to be
a catalyst for a renaissance in Bermuda, grounded in four vital signs that reflect the
health and vitality of life on the Island.
What We Found
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Social Cohesion – the way we livePerforming arts feed deep human needs. Their role in building social cohesion in Bermuda–strengthening understanding and collaboration across races, economic strata and different generations–was a strong theme throughout a significant proportion of the interviews. As one student noted, “We would even bring Bermuda together more and maybe help all the problems that are happening on this island… bring everyone together.”
Economic Development – what we growCommunity members identified many different ways that a centre for the performing arts would generate economic benefits for Bermuda by helping to diversify its economy. As a driver of professional development and
job creation, the centre would spur the growth of technical skills like recording, lighting and set design and would help grow performance-
related careers. The benefits to tourism were also cited as well as the opportunity to attract international artists to Bermuda as a performance hub.
Culture and Values – how we growPerforming arts play a vital role in the cultural life of the Island, not only for individuals but for the entire community. Especially for young Bermudians, performing arts are integral to their sense of identity. “What makes Bermuda special?” one youth said with passion. “It’s us. Cherish our accent. Understand that we don’t
have to sing like everybody else, or we don’t have to dance like everybody else. Dance like who you are.”
Human Growth and Development – what we becomeEvery interviewee, regardless of age or connection to the arts, spoke of the transcendent and transformational power of per-forming arts experiences, whether as a member of an audience
Four Vital Signs...
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or as a performer at any level, from school productions to amateur and professional presentations. Personal experiences with performing arts enable individuals to build the kind of self-esteem and confidence that is invaluable in any walk of life. As one young person noted, “Sometimes people just can’t get what they need to say out in words, they need to dance, they need to sing or they need to rap or whatever… not everybody expresses themselves in the same way.”
... and Why They Matter
1. The community believes that when we recognise the cultural significance of the performing arts, we build the human potential of our people.
The team working on this project entered the research phase with a commitment to understand the community’s desire and determination for a centre for the performing arts.
They discovered that the community’s desire is profound. The performing arts are seen as an aspect of personal development that contributes in a significant way to the country’s wellbeing. A centre for the perfoming arts is seen as a critical vehicle for enabling the development of Bermuda’s people.
“This country will benefit from what the arts bring as a whole in terms of its healing, in terms of its betterment, in terms of its raising a consciousness and awareness of ourselves… to really see Bermuda reach its fullest potential.” – Singer
– Patricia Pogson Nesbitt13
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2. Across the Island, people express an urgency about nurturing personal and collective iden-tity. Young Bermudians describe a precarious struggle: “a dance on a tightrope of hope and desperation.”
The research indicated that current social issues facing Bermuda are taking their toll on the Island’s residents and
that constructive, meaningful ways of addressing these issues must be found. Interviewees believe that the performing arts offer young people who may not succeed in a traditional academic environment an opportunity to develop their sense of self-worth
and self-esteem through creative expression.
“My dreams have gone dead because I have had so many dreams for Bermuda and they have all been
puffed out.” – Performing Artist
“Until we have a first-class performing arts centre in Bermuda, we’re going to be stifled and when I say stifled, I don’t mean that the arts will stop but we won’t be able to grow as we should grow.” – Actor
3. The people of Bermuda–regardless of age, race or gender–assert a passionate conviction that the performing arts can play a transforma-tive role in the long-term health and vitality of our country.
Whether interview participants are directly involved in the per-forming arts or have had a meaningful experience as an audience member, there is universal agreement that music, dance, drama, spoken word and other forms of performance are important components of a healthy community.
– Carol Birch
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“Music, performing arts [are] key to bridging some gaps. It’s the one thing that brings people together. At any concert–whether it’s classical or reggae–you see people from all walks of life. Middletown or Fairylands. That’s the one thing aside from a hurricane that we act nice. You know music is a bridge. The arts are a bridge. When you go to the dance… you see people from everywhere. You don’t just see Tucker’s Town people. It’s the one thing that binds us.” – Producer
4. A significant cross-section of our community –black and white, youth and adults–believes that a centre for the performing arts can be a stimulus for meaningful change and growth.
A common refrain among those interviewed was that much of the violence, gang-related activity and other social ills facing Bermuda are symptomatic of a creative energy that has been channeled in the wrong direction.
“All this foolish acting out that’s going on, that’s an art too but it’s just misdirected. Imagine what it would be like if it were directed the right way.” – Retired School Teacher
In summary, the research shows that Bermudians and residents of the Island believe that the real value of a physical facility dedicated to the performing arts will lie in its potential to foster relationships and inspire new collaborations that transcend disciplines as well as social and cultural barriers.
– Thaao Dill
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It just feels good. It makes you happy. Makes you… appreciate part of life that is weightless and exhilarating… just gives this broader concept of the universe.
– Businessman
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“When strengths are aligned, weaknesses are irrelevant.”
David Cooperrider, co-creator and pioneer of Appreciative Inquiry
The Performing Arts Centre Project is based in Appreciative Inquiry (AI), a question-and-answer method that builds upon successes. AI assumes that solutions rather than problems are the first point of departure for any given project. Those who believe in the value of the AI process feel that opportuni-ties–not conflicts–tend to flourish when people focus on human ideals and achievements, peak experiences, and best practices.
During the first phase of the project, an AI-based protocol was designed featuring a series of questions that enabled the project’s research team to gather the community’s input about how a centre for the performing arts might benefit all of Bermuda, especially its young people. The protocol used for the research can be found on pages 19 and 20 of this report.
The goal was to conduct no less than 250 one-on-one interviews. By Decem-ber, 2010, 288 interviews had been completed. In addition to the individual interviews, team members facilitated nine round table discussions. These sessions ensured that many members of the community from many backgrounds participated and that their opinions were reflected in the research. The round tables also created a unique opportunity to bring different members of the community together to share their thoughts and ideas in a spirit of respectful listening and participation.
Research usingAppreciative Inquiry
– Janice Duffy
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A Qualitative versus Quantitative Approach
In using Appreciative Inquiry as the basis for The Performing Arts Centre Project’s research phase, team members recognised that the resulting data would be qualitative rather than quantitative.
Because of the nature of this particular project–determining the community’s desire and determination to establish a performing arts centre in Bermuda–qualitative research, with its focus on value, was considered the better choice. The number of interviews undertaken for this project is significantly larger than is typically found in a qualitative study. Its results provide authentic insight into the community’s position.
The software used for this project was NVivo,3 a programme designed for the analysis of qualitative research. The rich data entered into the project’s NVivo database includes the interview protocol, verbatim interview transcripts and the demographics of project participants. Information relative to this material may be retrieved from the database by making specific reference to a variety of subject headings established for this particular project.
A structured protocol of eight open-ended questions was used for each one-on-one interview. The process was grounded in stories, meaning that participants were asked to reflect on their personal experiences with the performing arts.
Three questions from the protocol were used to facilitate discussion during the nine round tables. These questions asked participants to describe the strengths they see in performing arts in Bermuda, how a centre for performing arts would enable those strengths and what their hopes, dreams and aspirations are for performing arts in Bermuda.
3NVivo qualitative data analysis software, QSR International Pty Ltd., Version 8, 2008.
– Milton Raposo
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The following is the script for the protocol using Appreciative Inquiry that was developed to enable discussions conducted with individuals and with participants in round tables. All eight questions were used in one-on-one interviews; three questions were used to facilitate round table discussions.
*****
My name is [state your name], and I am interviewing [name of person] and today is [date and year].
Before we start, I’d like to give you a sense of process and next steps concerning your interview.
I’m going to record our discussion and then your com-ments will be transcribed verbatim and I’ll send a copy to you for your records.
We’ll enter the text of the interview into our database, which is password protected, with some key word cod-ing. We may want to use a quote from your interview further down the road, but will ask your permission first before we do.
The long-term objective is to develop in Bermuda
a centre for performing arts having fine acoustics
and flexibility in uses. The first stage of this project
consists entirely of research.
The purpose of this research is to encourage and en-
able the community to determine how such a centre
will benefit all Bermuda, especially its young people.
AN APPRECIATIVE INQUIRY INTO THE POWER OF
PERFORMING ARTS IN BERMUDA
Thank you for granting this conversation, our appre-ciative inquiry into the power of the performing arts. I ask your help in identifying Bermuda’s strengths in the performing arts, and in determining how a centre for performing arts will benefit all Bermuda, especially its young people.
First, please think for a moment, and try to remember one of the best times you ever had in a context of performing arts–a real high point for you–and tell me the story. You may have been in the audience, and seen a stage show or movie. You may have been a writer, performer, or technician. It may have been in Bermuda or overseas, in a theatre, a school, or even at home (for example, a child singing beautifully). The experience may seem large or small, but to you it was exciting, inspiring, moving. You responded, and you remember your response. It is your story that will inform our re-search. I want to hear whatever you will share with me as fully and completely as it happened.
1. Please tell me your story.
2. What especially gives you inspiration, hope and energy now when you think about how this experience made you feel then? (Prompt only if needed: values, circumstances, people, motives, talents, results)
3. What was it about you that helped make this experience such a high point? (Prompt only if needed: your strengths, skills, beliefs, values, motives, talents, desires)
4. What else do you value about yourself when you are feeling most ‘alive’ and most motivated?
Protocol
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5. What strengths do you see in the performing arts in Bermuda? (Prompt only if needed: people, organisations, public interest, special talents and abilities, teachers, performers, schools)
6. What other strengths would you like to see in the performing arts in Bermuda?
7. How would a centre for performing arts help enable those strengths for the benefit of all Bermuda, especially its young people?
8. Do you have any other hopes, aspirations and dreams about performing arts in Bermuda?
Thank you for taking the time to speak with me.
Process of Analysis – Themes and Coding
Interviews and round tables were recorded using digital recorders and transcribed verbatim. The round tables were also video-taped. The verbatim transcript of each interview was entered into the NVivo database.
In order to analyse the comments and opinions expressed during the interview process, ten high level themes relative to performing arts were identified:
Talent AudienceEmotions IdentityPlace Diversity Benefit to Bermuda Bricks and Mortar Education Communication
At least four different members of the project research team read each interview and highlighted sections that reflected one or more of the themes. The themed sections were then imported into the NVivo database where electronic ‘buckets’ had been created to store data (interview responses) related to the ten themes.
– Georgine Hill
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a. Previous Performing Arts Centre Initiatives in Bermuda
An OverviewFor more than three decades, a number of initiatives have been undertaken to address the opportunity to establish an arts centre of some description in Bermuda.
In 1979, during the Island’s observance of The Interna-tional Year of the Child, a group of interested individuals began to consider the feasibility of constructing a new facility in Bermuda that would integrate all forms of art. Throughout the ‘80s, the Woman Exhibition committee set aside seed money to assist with work associated with this project.
In 1984, Minister of Cultural Affairs the Hon. Robert Barritt, JP, MP established a formal committee chaired by John White and made up of public and private representatives to look at the viability of establishing a community centre for the arts. One idea that was considered but later abandoned was the possibility of converting the former Ruth Seaton James Auditorium into a performance space. Minister Barritt then contracted Theatre Project Consultants to conduct a feasibility study to determine the need and viability of a centre for the visual and performing arts.
The statement of purpose for this study was “to nur-
ture, extend and expose Bermudians, residents and
visitors to a variety of visual arts, performing arts and
community activities in one central purpose-built
facility, thereby improving the quality of life for all of
Bermuda.”
A report1 produced in 1987 found that there was a great absence of and need for purpose-built facilities in Bermuda that would house and facilitate the devel-opment of Bermuda’s visual and performance arts.
Appendix
Theatre Project Consultants focused on the physical requirements and usage of a centre with the intention of housing musical theatre, chamber music, choral music, solo and small ensemble recitals, opera, ballet, dance, business theatre, audio visual performances, comedy acts, lectures and film.
The overarching objective of the envisioned centre was to provide an environment within which the artistic potential of Bermuda’s talented people could be fully realised.
Committee members who worked with Minister Barritt and Theatre Project Consultants to produce the 1987 report were: John White, Chairman Audrey Brackstone Richard Butterfield Neville Conyers Eddie DeMello William Frith Bruce Hallett Louise Jackson Don Jolliffe
Sue McCullagh
1Feasibility Report, A Centre For the Visual and Performing Arts, October 1987
The New Theatre Ltd.The New Theatre Ltd. was incorporated as a company limited by guarantee in 1996 and in 1997 became Bermuda Registered Charity #464 “to engage in and
carry on the business of acquiring, owning, operat-
ing, erecting, providing, managing and developing a
performing arts theatre and all ancillary facilities and
operations.”2
2Articles of Incorporation, The New Theatre Ltd., November, 1996
Robin McMillanConchita MingCyril PackwoodJane SelleyDennis SherwinJacqueline SwanChris SzembekRuth ThomasAndrew TriminghamChris Wilcox
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Directors were Richard Butterfield (President), Audrey Brackstone, Warren Cabral, John Gardner, Bruce Hallett, Louise Jackson, Lady Swan and Ruth Thomas. Consultants were Artec Consultants3 and Donnell Consultants4 for an initiative that now focused on the performing arts.
The company engaged the community in the planning process through meetings, discussions and interviews. Premier the Hon. Sir John Swan, JP, MP was consulted, as were Members of Parliament, Civil Service personnel, members of the Corporation of Hamilton and arts organisations. Meetings were also held with architects, engineers, teachers, members of the media and rep-resentatives of the Bermuda Hotel Association and the Chamber of Commerce.
By the end of 1997, the project had been suspended. The directors were not persuaded that conventional fundraising methods could serve this large, community-wide project successfully.
In 2005, Richard Butterfield learned that Gordon Johnson might be available to join the project on a full-time basis, and invited him to do so. Mr. Johnson intro-duced Mr. Butterfield to Appreciative Inquiry (AI), and Mr. Butterfield decided that the project, based on AI, could succeed. In November, 2008, he engaged Mr. Johnson to advise on restarting the project.
The Centre LimitedIn June, 2008, the name of Bermuda Registered Charity #464 was changed from The New Theatre Ltd. to The Centre Limited.
Gordon Johnson became CEO of The Performing Arts Centre Project in November, 2008. During 2009, project staff was hired, a series of Appreciative Inquiry work-shops were organised, a group representing a cross-section of the community was established as Advisors to the project, a separate initiative creating a cultural map of Bermuda was undertaken and a protocol for the project was developed.
The members of the Board of Directors of The Centre Limited who have overseen The Performing Arts Centre Project are as follows:Audrey Brackstone
Richard Butterfield, President
John Gardner
Project team members have consulted with a broad cross-section of the Bermuda community about the establishment of a performing arts centre. The objec-tive has been to obtain a clear understanding of the community’s desire and determination for a centre and the types of experiences artists and audiences have had, and would like to have, with the performing arts.
3Artec Consultants Inc. (New York) is a leader in the design and planning of innovative performing arts facilities having fine acoustics. 4Donnell Consultants Incorporated (Florida) provides pre-construction
cost and project management specialty in theatre, opera house, concert hall, multi-use facility, museum and art gallery projects.
Project TeamMembers of The Performing Arts Centre Project’s team are as follows:
Gordon Johnson, a partner in Johnson & Associates, has been contracted as CEO to provide executive leadership for The Performing Arts Centre Project.
Karen Cabral, as Research Manager, is responsible for overseeing all aspects of the research undertaken in support of The Performing Arts Centre Project.
Tiffany Paynter, as Research Assistant, is responsible for participating in interviews, analysing data and drafting material for this report.
Donna Stamper is the Project’s Administrator.
ConsultantsAderonke Bademosi Wilson of The Stratford Group is providing project management expertise.
Jeannette Hanna of Trajectory (Toronto) is providing project communications counsel, research analysis and writing support.
Wendy Davis Johnson of Johnson & Associates is providing strategic communications counsel as well as research analysis, writing and editing support.
Bruce Hallett
Louise Jackson
Ruth Thomas
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There are so many people in this tiny little island where we’re all incredibly busy who are willing to come out and give up huge amounts of time doing often quite thankless tasks for nothing. No money at all. Some people get paid for various things but still an enormous amount of work goes in and people do it cheerfully and willingly. And want to do it. And love putting the shows on and love going to them.
b. AdvisorsThe Performing Arts Centre Project is grateful for the guidance provided throughout the first phase by its Advisors.
Representing a cross-section of the community, Advisors provided information, thoughts and opinions. There was no intention to seek a consensus on any matter.
During the research phase, Advisors concentrated on what is desirable and why. They did not consider location, size or cost of a centre; fundraising; or what may or may not be possible.
Kirsten Badenduck
Gita Blakeney Saltus
Susan Butterfield
Ian Davidson
Curtis Dickinson
Mary Faulkenberry
Rees Fletcher
Kelvin Hastings-Smith
Stuart Hayward
Carol Hill
Georgine Hill
Ronald Lightbourne
Lisa Lister
Leo Mills
Sheila Nicoll
Heather Nova
Tiffany Paynter
Gary Phillips
Aideen Ratteray Pryse
Gladwin Simmons
Rochelle Simons
Gavin “Djata” Smith
Larry Trott
Cummings Zuill
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– Actor/Director
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Cathy Aicardi
Judith Alexander
Terrilyn Allison
Charlotte Andrews
Denise Astwood
Abimbola Bademosi
Aderonke Bademosi Wilson
Kirsten Badenduck
Nishanthi Bailey
Raven Baksh
Joanne Ball-Burgess
Andrea Banks
Che Barker
John Barnett
Chantel Barnshaw
Joy T. Barnum
Bruce Barritt
Makeem Bartley
Melvyn Bassett
Kevin Bean
Melina Bean
Shoa Bean
Rosheena Beek
Anthony (Tony Bari) Bicchieri
Carol Birch
Glenn Blakeney
Gita Blakeney Saltus
Nikki Bowers
Mauricka Bradshaw-Edness
Anthony (Tony) Brannon
Dawn Broadbelt
Ivan Broadbelt
Mansfield H. (Jim) Brock
Kharis Brooks
Gary Burgess
Judith Burgess
Kadijah Burrows
Dale Butler
Dick Butterfield
Nathaniel Butterfield
Philip Butterfield
Sandra Butterfield
Susan Butterfield
Tom Butterfield
Joan Cabral
Karen Cabral
Crystal Caesar
June Caisey
Keith Caisey
John Campbell
Liz Campbell
Sophia Cannonier
Jarrett Carlington
Peter Carpenter
Andrew Chamberlain
DeAzha Chambers
Mia Chambray
Veronica (Ronnie) Chameau
Deirdre Chapin
Elfrida (Frida) Chappell
Shirley Christopher
Marcelle Clamens
Cha’Von Clarke
Robert Clifford
Vivlyn Cooper
Linda Cox
Molly Critchley
Carla Crockwell
Kaurie Daniels
Ian Davidson
delMonte Davis
Eugene Dean
Patricia Deane-Gray
Eddie DeMello
Rajai Denbrook
Debbie DeSilva
Connie Dey
Anand Dholakia
Curtis Dickinson
Kerri-Lynne Dietz
Barrett Dill
Emilygail Dill
Kenneth Dill
Patrick Dill
Thaao Dill
Glenn Doers
Grace Dorsey-Landy
Keith DuBois
Janice Duffy
Sarafina Durrant
Steven Easton
Jevon Easton-Vanderpool
Brianna Edwards
Stacey Evans
Jamila Eve
Mary Faulkenberry
Rebecca Faulkenberry
Barry Fitzsimmons
Rees Fletcher
Rudy Ford
Paul Fortuna
Sheldon Fox II
Ann Francis
Lauren Francis
Barbara Frith
Christopher Frith
Jamin Furbert
Sudan Furbert
Wayne Furbert
John Gardner
Lady Gibbons
Angela Gilbert
Travis Gilbert
Christopher Godfrey
Robbie Godfrey
Gayle Gorman
Charles Gosling
Lauren Grant
Oliver Grant
Duranda Greene
Jeannette Hanna
Jean Hannant
Edward Harris
Gerald Harvey
Izola Harvey
Suzette Harvey
Kelvin Hastings-Smith
Martin Hatfield
Stratton Hatfield
Stuart Hayward
Wendell “Shine” Hayward
Carol Hill
Georgine Hill
Colin “Dusty” Hind
Sal Hodgson
Simon Hodgson
Tabitha (Essie) Hollis
DeShae Hollis
Andrew Holmes
Lisa Howie
Deborah Jackson
Jayson Jackson
Louise Jackson
Wayne Jackson
Charles Jeffers
April-Jean Joell
Shapri Joell
Gordon Johnson
Molly Johnson
Matthew Johnston
Barbara Jones
Warren Jones
Kerry Judd
Josephine (Josie) Kattan
Adrian Kawaley-Lathan
Polina Komsalova
c. Interview and Round Table Participants
The Performing Arts Centre Project extends sincere appreciation to the following 303 members of the Bermuda community, and to 16 others who wish to remain anonymous, for participating in one-on-one interviews and round table discussions using the Appreciative Inquiry protocol developed to support the research phase of this project.
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Bradford Kopp
Donald Kramer
Karla Lacey
Randy Lambert
Wendy Lambert
Marlene Landy
David Lang
Aarian Lassalle
Richard Lathan
Shaquille Lathan
Michelle Laylor
Jane Lee
Jeanne Legere
Lashae Leverock
Ronald Lightbourne
Lisa Lister
Terry Lister
Ronnie Lopes
Keetha Lowe
Richard Lowry
Peggy MacKinnon
Alana MacPhee
Diana Mahoney
Rajiv Mallory
Nikia Manders
Frances Marshall
David Martin
Rotimi Martins
Femi Martins
Lloyd Matthew
Matthew McGowan
Stephanie Medeiros
Clare Mello
Tom Miller
Leo Mills
Conchita Ming
Richard Moseley
Shawn Murphy
Patricia Pogson Nesbitt
Sheila Nicoll
Pamela Barit Nolan
Stephen Notman
Suzanne Notman
Heather Nova
Brian M. O’Hara
Lisa Osbourne
Amanda Outerbridge
Lucie Patching
Helle Patterson
Marion Paul
Tiffany Paynter
Natalie Pereech
Keya Perinchief
Anthony Pettit
Marjorie Pettit
Debbie Pharoah-Williams
Gary Phillips
Jennifer Phillips
Robert Pires
Karen Pollard
Christian Pollard
Harry Powell
Shari-Lynn Pringle
Christopher Profit
Peter Profit
Ri-Ann Pully
Arthur Rankin
Milton Raposo
Aideen Ratteray Pryse
Eston Rawlins
Eston Shadoe Rawlins
Grace Rawlins
Cameron Ray
Tom Ray
Howard Rego
Lesley Rego
Timeco Richardson
Krystl Robinson-Assan
Johnathan Rogers
Alyssa Rose
Austin Ross
Matthew Ross
Elder Kevin Santucci
Christa Schweizer
Dana Semos
Ru-Zelda Severin
Jo Shane
Jane Sheere
Grace Shelton
Derek Simmons
Gladwin Simmons
Malachi Simmons
Kevin Simmons
Cole Simons
Duncan Simons
Rochelle Simons
Karin Sinclair
John Sinclair
Sallie Singleton
Dawnita Smith
Duane Smith
Gavin “Djata” Smith
Gregory Smith
Samantha Smith
Krystal Smith
Pamela (Penny) Souza-Fowkes
Gina Spence Farmer
Duval Spencer
Donna Stamper
Nathan Stamper
Marjorie Stanton
Gene Steede
Vejay Steede
Tina Stevenson
Alexis Stovell
Jerome Stovell
Elena Strong
Matthew Strong
Naasson Swan
Brenda Swan
Princess Symonds
Tona Symonds
Clement Talbot
Ruth Thomas
Jane Thorpe
Aisha Trott
Danilee Trott
Jonathan Trott
Larry Trott
Mitchell “Live Wires” Trott
Lillian Veri
Jane Vickers
Rowan Vickers
Coral Waddell
Elmore Warren
Katherine (Kate) Waters
Heather Whalen
Ceola Wilson
Edwin C. Wilson
Gavin Wilson
Peter Wilson
Alexander Winfield
Matthew Witkowski
John Woolridge
Seldon Woolridge
Cummings Zuill
Aly Zwiener
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The Performing Arts Centre ProjectThe Centre Limited
“White Hall”1 Park Road, Suite 2
Hamilton HM 09, BermudaPhone: (441) 292-4833
Fax: (441) 292-4569
Performing Arts Centre Project Bermuda
Perform Bermuda
The Performing Arts Centre Project appreciates the professional expertise provided by the following:
ACE Bermuda Rosheena Beek, Moja Co. Productions Michael Branco, Ignition GroupBermuda Executive ServicesButterfield BankSean Collier, Cosmic Design Steve Easton, Platinum RecordingThe Fairmont Hamilton Princess The Flying ChefCynthia Jacobs, Ed.D., Regional Manager, Americas, Training and Research Consultancy, QSR InternationalMarylee O’Neill and Sarah Shepherd, Oliver Wyman Delta Johnathan Rogers, Summit Video Elmore Warren, Fresh Creations ProductionsXL Group
An Appreciative Inquiry into The power of performing arts in Bermuda
Design and Production: Liz MartinPhotography: Ann SpurlingPrinting: Bermuda Blueprinting
www.performingartscentreproject.org