Document

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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.

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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