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United Nations Educational Scientific and Cultural Organization (UNESCO) The Performing Arts Centre Projects 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 Celebration. 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 Fairsthat 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

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

This report is published by The Centre Limited. The Centres 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.

b. Advisors...................................................23 c. Interview and Round Table Participants.....24 Appendix a. b. c. Performing Arts Initiatives in Bermuda Project Team Interviewees

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Be Bermudian. The best you can be. And in the performing arts we have something that is Bermudian. Lets find it, lets develop it.
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 projects 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 teams 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 youre 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 Limiteds 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, including 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 Projects 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 projects 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

Profile of Interviewees
Number Interviewed Bermudian Non-Bermudian Female Male Black White Other 15-19 20-29 30-39 40-49 50-59 60-69 70-79 80-89 90+ 278 41 162 157 159 136 24 41 35 34 53 73 43 30 8 2 Project Statistics 87% 13% 51% 49% 50% 42% 8% 13% 11% 11% 17% 23% 13% 9% 3% 1% Government Statistics2 [2000] 79% 21% 52% 48% 61% 39% - white and other 6% 13% 19% 17% 12% 8% 5% 1% 1%

2 Source: 2000 Census Department of Statistics, Bermuda Government

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We should be able to see performing arts be pivotal in the transformation in Bermudas life.
Non-Profit Executive Director

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 communitys feedback. Talent Emotions Place Benefit to Bermuda Education Audience Identity Diversity Bricks and Mortar Communication

Total Mentions by Themes

for 288 interviews and 9 round tables

2000 1500 1000 500 0

7 9

Five themes generated more than 70% of all coded passages in both interviews and round tables and can be summarised as follows: 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 dont know to whom to turn for knowledgeable guidance as they consider a career in the performing arts.

Emotions

Rowan Vickers

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 Bermudas 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 schools curriculum.

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Research participants would like an educational component to be included in a performing arts centres 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 Bermudas 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 technologiesrecording capabilities, web-enabled live streaming of events including interactive connections to schools and the worldwere 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. 11 9

I think its 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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What We Found

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.

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Four Vital Signs...

Social Cohesion the way we live
Performing arts feed deep human needs. Their role in building social cohesion in Bermudastrengthening understanding and collaboration across races, economic strata and different generationswas 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 grow

Community 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 performancerelated 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 grow

Performing 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. Its us. Cherish our accent. Understand that we dont have to sing like everybody else, or we dont have to dance like everybody else. Dance like who you are.

Human Growth and Development what we become

Every interviewee, regardless of age or connection to the arts, spoke of the transcendent and transformational power of performing arts experiences, whether as a member of an audience 14 12

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 cant 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 communitys desire and determination for a centre for the performing arts. They discovered that the communitys desire is profound. The performing arts are seen as an aspect of personal development that contributes in a significant way to the countrys wellbeing. A centre for the perfoming arts is seen as a critical vehicle for enabling the development of Bermudas 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 Nesbitt

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2. Across the Island, people express an urgency about nurturing personal and collective identity. 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 Islands 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, were going to be stifled and when I say stifled, I dont mean that the arts will stop but we wont be able to Actor grow as we should grow.

3. The people of Bermudaregardless of age, race or genderassert a passionate conviction that the performing arts can play a transformative role in the long-term health and vitality of our country.
Whether interview participants are directly involved in the performing 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. Its the one thing that brings people together. At any concertwhether its classical or reggaeyou see people from all walks of life. Middletown or Fairylands. Thats 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 dont just see Tuckers Town people. Its the one thing that binds us. Producer

4. A significant cross-section of our community black and white, youth and adultsbelieves 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.
Thaao Dill

All this foolish acting out thats going on, thats an art too but its 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.

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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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Research using Appreciative Inquiry

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 opportunitiesnot conflictstend 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 projects research team to gather the communitys 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 December, 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.

Janice Duffy

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A Qualitative versus Quantitative Approach

In using Appreciative Inquiry as the basis for The Performing Arts Centre Projects research phase, team members recognised that the resulting data would be qualitative rather than quantitative. Because of the nature of this particular projectdetermining the communitys desire and determination to establish a performing arts centre in Bermudaqualitative 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 communitys 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 projects 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-onone 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.
3

NVivo qualitative data analysis software, QSR International Pty Ltd., Version 8, 2008.

Milton Raposo

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Protocol
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, Id like to give you a sense of process and next steps concerning your interview. Im going to record our discussion and then your comments will be transcribed verbatim and Ill send a copy to you for your records. Well enter the text of the interview into our database, which is password protected, with some key word coding. 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 enable 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 appreciative inquiry into the power of the performing arts. I ask your help in identifying Bermudas 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 artsa real high point for youand 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 research. 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?

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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 videotaped. 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 Emotions Place Benefit to Bermuda Education Audience Identity Diversity Bricks and Mortar 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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Appendix
a. Previous Performing Arts Centre Initiatives in Bermuda An Overview
For 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 Islands observance of The International 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 nurture, 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 development of Bermudas visual and performance arts. 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 Bermudas 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 Robin McMillan Audrey Brackstone Conchita Ming Richard Butterfield Cyril Packwood Neville Conyers Jane Selley Eddie DeMello Dennis Sherwin William Frith Jacqueline Swan Bruce Hallett Chris Szembek Louise Jackson Ruth Thomas Don Jolliffe Andrew Trimingham Chris Wilcox Sue McCullagh
1

Feasibility 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, operating, erecting, providing, managing and developing a performing arts theatre and all ancillary facilities and operations.2

Articles of Incorporation, The New Theatre Ltd., November, 1996

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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 representatives 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, communitywide 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 introduced 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.

Project team members have consulted with a broad cross-section of the Bermuda community about the establishment of a performing arts centre. The objective has been to obtain a clear understanding of the communitys 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.
3 Artec Consultants Inc. (New York) is a leader in the design and planning of innovative performing arts facilities having fine acoustics. 4 Donnell 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 Team
Members of The Performing Arts Centre Projects 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 Projects Administrator.

The Centre Limited

In 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 workshops were organised, a group representing a crosssection 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: Bruce Hallett Audrey Brackstone Louise Jackson Richard Butterfield, President Ruth Thomas John Gardner 24 22

Consultants
Aderonke 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.

b. Advisors
The 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

There are so many people in this tiny little island where were 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.
Actor/Director

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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.

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 ChaVon 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

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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. OHara 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 Project appreciates the professional expertise provided by the following: ACE Bermuda Rosheena Beek, Moja Co. Productions Michael Branco, Ignition Group Bermuda Executive Services Butterfield Bank Sean Collier, Cosmic Design Steve Easton, Platinum Recording The Fairmont Hamilton Princess The Flying Chef Cynthia Jacobs, Ed.D., Regional Manager, Americas, Training and Research Consultancy, QSR International Marylee ONeill and Sarah Shepherd, Oliver Wyman Delta Johnathan Rogers, Summit Video Elmore Warren, Fresh Creations Productions XL Group The Performing Arts Centre Project The Centre Limited White Hall 1 Park Road, Suite 2 Hamilton HM 09, Bermuda Phone: (441) 292-4833 Fax: (441) 292-4569 www.performingartscentreproject.org Performing Arts Centre Project Bermuda Perform Bermuda

An Appreciative Inquiry into The power of performing arts in Bermuda Design and Production: Liz Martin Photography: Ann Spurling Printing: Bermuda Blueprinting

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