All of We is ONE

or
ntre f ts
UK Ce val Ar
C a r n i va l : pa s t a n d p r e s e n t

Carni he
sy ou to t l
w elcomeof carniva
world

“At last, a centre dedicated
c a r n i v a l
testimonial

Lenny Henry OBE strictly to carnival. This is
“carnival is an essential aspect of life a brilliant progression for
in the caribbean – unfortunately
i’ve never been to carnival in the carnival nationally and
internationally!”
caribbean, i don’t know why, maybe
timing/career/travel sickness?
Whatever the reason, it’s never happened. Pa x N iN d i , a rt i st i c d i r ec to r , co m b iN e d a rts se rvices
i have been to Notting hill carnival
however and the joy, excitement, sexiness
and wonder of the day are always a delight
to experience. i have only ever had good “Never before has there been a time
experiences at carnival – carnival’s great
like that... it’s a celebration that welcomes where we have such an opportunity
all colours, creeds, religions – there’s
a plethora of great music, and some
to participate through the arts in a
extremely happy people... so go on...buy
some jerk chicken and some Guinness
dialogue between cultures; which
punch – and save some for me...” will become even more relevant
as we lead up to the London 2012
Olympic Paralympic Games.”
a l i P r e tty, a rt i st i s d i r ec to r , K iN e t i K a

“Through Carnival Arts our members,
young and old, have benefitted from
working with people from a range of
ethnic and cultural backgrounds and
differing abilities.”
cover photo: kevin Joseph

sa N d h i ya Pat e l , o m yo u t h

Welcome to our dynamic, dedicated home for Carnival arts,
community, learning and enterprise. Carnival involves highly
skilled art forms across music, movement costume. these
art forms are rooted in traditions spanning the globe coming
together to inform and inspire our courses, workshops,
seminars, outreach, exhibitions, showcases, galas and events.
the UK Centre for Carnival arts is a living breathing creative
space designed specifically to unite, excite, engage and educate.

welcome to ukcca
W h i l st access f o r a l l i s o u r traditionally under-valued art form
overarching aim, as the country’s first so that audiences past, present and
dedicated centre of excellence for future; from the cradle to the grave, no
Carnival Arts we’re particularly excited matter what religion, colour or social
to put the professional development of background, can unite in diversity and
carnival artists at the forefront of our enrich their lives and opportunities
objectives. This emphasis on developing through carnival.
world class artists in the fields of music,
It is our very great pleasure to invite
mas and performance is testament to
you through this brochure to
to the fact according to an Arts Council
East of England survey that one in five See the mas. Hear the music

adults in the UK have visited a carnival And make your move...
in the past 12 months. With the 2012
London Olympics just around the corner
there has never been a more important
time to grant national and international
audiences world class carnival
experiences and access.
UKCCA will provide a much-needed paul anderson
national home for this inspirational, E x E C U TIvE D I r ECTO r

photo: Mark Lyndersay

all encompassing
all embracing
CA R N IVA L : PAS T A N D PR E SENT
Carnival is all-encompassing and all-embracing.
there are thousands of carnivals that take place
throughout the world, some born out of tradition,

some responses to oppression, some are about
tourism, but most of all they are about celebrating life!

t h e ce l e b r at e d t r i n i da d i a n n ov e l i st, exactly why the world participates in this festival
playwright and short-story writer Earl Lovelace of colour, music and masquerade. Carnival is
evokes the essence of carnival in his book an all-encompassing and all-embracing street
‘Dragon Can’t Dance’, when one of his characters festival that is celebrated across the UK, Europe,
announces ‘all of we is one!’. This line sums up Africa, Latin America and the Caribbean.

h u n d r e d o f y e a r s a g o f o l loW e r s o f t h e African-Americans mixed with French settlers
Catholic religion in Italy started the tradition and Native Americans).
of holding a wild costume festival right before Carnival was introduced to Trinidad around
the first day of Lent. Because Catholics are not 1785, as the French settlers began to arrive.

supposed to eat meat during Lent, they called Obviously banned from the masked balls of the
their festival, carnevale — which literally means French, the slaves would hold their own little
“to put away the meat.” As time passed, carnivals carnivals in their backyards — using their own
in Italy became famous and the practice spread rituals and folklore, but also imitating their
to France, Spain and all the Catholic countries masters’ behaviour at the masked balls.
in Europe. Then as the French, Spanish and For African people carnival became a way to
Portuguese began to take control of the Americas express their power as individuals as well as their
and other parts of the world, they brought rich cultural traditions. After 1838 (when slavery
with them the tradition of celebrating carnival. was abolished), the freed Africans began to host
Brazil, once a Portuguese colony, is famous for their own carnival celebrations in the streets
its carnival, as is Mardi Gras in Louisiana (where that grew more and more elaborate and soon

c a r n i v a l
case study

Carnival
Collaborator
carl gabriel knows the devil’s in
the detail when putting the wow into
wire bending.
his talents are respected at an
international level and his dedicated
workshops have shown children
across the uK how art connects with
“Carnival has the unique power to the curriculum enriching learning on

engage, motivate and inspire both measurements, angles, shape and
balance and other aspects of physics and
individuals and communities to geometry. carl has collaborated with the
victoria and albert and science museums
extraordinary levels of creativity.” in london and continues to develop the
chris sla NN , Fra N Ki e G o l dsP i N K, c a rNi va l le a r N i N G ceN t r e , i s l e oF W iGh t profile of carnival arts in other major
cultural institutions.
“the uKcca building is the best thing to
happen to carnival and carnival arts. as
someone who is very active
became more popular than the balls. Circling to another world to be reborn and to grow in the carnival world, i am
villages was believed to bring good fortune, to spiritually. Today, we see feathers used in many, positive uKcca will raise
heal problems and chill out angry relatives who many forms in creating carnival costumes. the artistic quality of all
had died and passed into the next world. Carnival African dance and music traditions disciplines connected

Arts also borrow from the African tradition of transformed the early carnival celebrations in to carnival and
putting together natural objects (bones, grasses, the Americas, as African drum rhythms, large street events,
beads, shells, fabric) to create a piece of sculpture, puppets, stick fighters, and stilt dancers began to nationally and
a mask, or costume — with each object or make their appearances in the carnival festivities. internationally.
combination of objects representing a certain Carnival Arts still offer us a dynamic tool for in working
idea or spiritual force. self-expression and exploration, a tool to seek together we
out our roots, a tool to develop new forms of deliver the
feathers Were fr eq u e n t ly u se d by af r i c a n s looking at the world and its cultures, and finally, biggest impact
in their motherland on masks and headdresses as a tool to unite the world, to discover what we all for all.”
a symbol of our ability as humans to rise above have in common, and to celebrate what makes
problems, pains, heartbreaks, illness — to travel us different.

the art of
carnival
AN IN T RO DU C T I O N T O CA R N IVA L a rt s
On the street, the Carnival art Forms fuse together
with other disciplines from music, visual arts
and theatre to multimedia, dance and literature
to make what the carnival sector knows is the
Greatest show on earth.
before We c a n e x p l a i n to yo u Wh at t h e their own balls. The idea was to play at being
Carnival Arts are, you must understand what something else hence the term masquerade.
is meant by Masquerade (or ‘Mas’ as the Within the mas parade there are a host of high
Trinidadians would say). Mas stems from art forms spanning design, production, dance,
slavery days when slaves would parade as music, performance and costume to name but a
their masters with powdered white faces and few. Let us introduce you to the exciting world
masters would masquerade as their slaves at of Carnival Arts.

photo: Mark Lyndersay

c a r n i v a l
case study

Carnival Artist
in Action
colin spalding has no regrets
in giving up the security of a
full time public sector job
to focus on developing his

photo: peter huggins
photo: kevin Joseph

company, cre8mas.
recognised as one of the uK’s
leading costume makers, he has
made inspirational costumes for
carnival parades and projects from
WIRE BENDINg A great deal of skill, precision world. The steel pan has developed over the israel to trinidad tobago to Nice to
and physics is required to take a piece of wire years and now boasts a wide range from tenor the isle of Wight.
and twist it into the likeness of, for example, an pans, (shallow drum, about six inches deep with “as artists we have been crying out for
elaborate dragon. Trinidadian and great wire a range of up to thirty-two notes) to bass pans, a hub of excellence and creativity, a
bender, Albert Bailey, says, “this is a traditional (full-size forty-four gallon oil drums.) forum to meet and share ideas, exchange
aspect of culture, forever in demand, anywhere opinions and innovate new ways of
mAS Each year carnival bands create spectacular
there is a carnival.” For without this skill the king, working. uK carnivalists are among the
costumes to reflect the theme that they have
queen and individual costumes of a mas band best in the world and its about time
chosen. The costume making timeline starts
would not even be able to stand up much less be we had a place
with the bandleader’s idea of what the band’s
performed on the Carnival stage”. to develop that

a n i n t r O d U C t i O n r O C a r n i va l a r t s
next presentation should be; it then becomes a talent to reach
STEEL PAN OR STEEL BAND The banning of plot expressed in drawings and those drawings its full potential.
all types of drumming in Trinidad in the 1880s are created using metal or fibreglass frames, the business
resulted in riots and ultimately Africans applied covered with fabric, beads, feathers and sequins. and capacity
and readapted their tradition of the drum to The larger costumes are usually more difficult building skills
create new forms and mediums of music. Biscuit to design and build. Created primarily from that uKcca
tins and dustbins were manipulated and crafted wire, netting, foam, and paint, these awesome provides will
into instruments, becoming the first “pans.” costumes mesmerize and dazzle spectators and also prove
Steel pan music is therefore the sound and soul have evolved into “dancing mobiles”. Dancing invaluable
of carnival and was the music of the day that mobiles are a form of performance art that for the
accompanied the mas bands on the road. Today combines the three-dimensional quality of carnival and
bands are professionally organised with their large-scale sculpture with the dramatic and wider cultural
own conductors, managers and producers and choreographic expressiveness of a live human sector.”
play closely fought competitions across the performer.

photo: pauL anderson
photo: david Beidas

photo: peter ryan
CALyPSO Calypso gained popular recognition and the seductive dancing that accompanies the
from the 1930s and is a genre of African rhythms. The most renowned samba showcase
Caribbean music that was originally used by occurs during the Rio de Janeiro Carnival in
slaves to communicate. Calypso could be called February, where schools of dancers clad in plumes
the voice of social conscience. It typically involves and beads perform to the rhythmic sounds.
social commentary, often laced with humorous
DHOL DRUmmINg One of the infectious sounds in
satire on current events.
Asian festivals and around carnival time is that of
SOCA In the 1970s Trinidad and Tobago saw the dhol drums. It dates back to the 15th century
the onslaught of a more up tempo, less socially and is most commonly associated with the lively

photo: peter ryan
conscious version of calypso called Soca. While Punjabi music and dances. It is the baseline for
calypso is the voice of social conscience, Soca is modern Bhangra music and continues to grow
party music blending traditional Calypso with in popularity throughout the world due to the

Indian Music. Soca is not, as many people assume, migration of people of the South Asian diaspora.
a fusion of calypso and American soul music. In
SOUND SySTEmS The ‘sound system’, a product of
1973, Lord Shorty introduced soca to the world
1950s Jamaica, has made a massive impact on UK
with his hit song Indrani.
culture. At carnival time, seasoned revellers come
SAmBA DRUmmINg Samba developed in the early out to dance to their favourite sounds and they
20th century and is the most famous form of have certainly been instrumental in the rise of
music arising from African roots in Brazil. The urban music as part of mainstream media today.
name is used to describe the intoxicating sounds Historically it was important to build a ‘sound’
of the instruments that comprise the batteria; with one man (it was mainly men in those days)
‘surdo’ drums, ‘tambourim’, ‘agogo’ and ‘ganza’, who would buy music, another with an interest

0

c a r n i v a l
case study

Carnival DJ
Jermaine langlais started
‘dabbling’ in music on his pc
at home but was so impressed

photo: peter ryan
with the chance to work with
professional equipment on the
uK centre for carnival arts digital
academy project that he made up
his mind to get more serious in
the business.
he was also inspired by seeing his friends
in electronics and one who liked to MC – ‘talk dance studios and clubs, around carnival time
perform with well-known musicians on his
on the mike’. Playing a sound means that you’re sure to find enthusiasts on the streets
‘home stage’ at the luton carnival. “it just
although you are using recorded music, the improvising and re-inventing the genre to the
seemed like a great way to get together
effect is of it being a live performance. The sound freshest urban tracks. Street dance as an art form
with friends and get our music heard and
system influence has caused the demand for is particularly appealing to young people.
recognised. having access to professional
clubs and carnival bands to have high powered,
equipment and having the chance to
multi-amplified PA systems as part of the live
carnival experience.
“The lure is that perform with well-known musicians on

FACE PAINTINg Face painting has become
special feeling when stage at luton carnival was amazing.”
after five years in uKcca’s digital
the concept, ideas

a n i n t r O d U C t i O n r O C a r n i va l a r t s
popular at Carnival events and is great fun for academy Jermaine is currently
both the artist and the person being painted. attending the university
Vivid colours, glitter and gems are used to create and drawings come of hertfordshire
intricate, exciting designs based on a theme,
design or an image straight from the imagination.
to life in the form of a studying sound
design technology.
Designs can take just minutes to produce so it’s
great for keeping young children entertained and
finished costume. The along with his
studies, he runs a
involved. process from design music production
STREET DANCINg Fun, energetic and constantly to creation is an company ‘making
beats’ and works
evolving, street dance gets everyone going. The
term is loosely used for the funky and eclectic ongoing love affair.” with vocal artists to
mix of dances such as breakdancing, popping, produce their tracks.
J a N e t s KeP P l e , st. K i tts ,
hip hop new style and house dance. Outside of N e v i s aN d F r i eN ds c a r N i va l Gr o u P

become
mORE
CA R N IVA L i n educat ion
Carnival offers an unrivalled wealth of
possibilities for participation, learning,
enjoyment, personal and community
growth and development. Bringing the
energy of the Mas Camp to everything
we do in learning and participation –
everyone can get on board!
C a r n i va l i n e d U C at i O n

by ce l e b r at i n g a n d s h a r ing the workshops and programmes of
skills, abilities and cultures of everyone activity for young people who are
in our community we can become from challenging backgrounds and
more colourful, successful, energised, re-engaging them in learning through
integrated, safer, inspired, proud exciting projects based on Carnival Arts.
and creative. We do this by identifying geographical
The UKCCA education directorate areas where excluded young people are
are highly experienced in tailoring at risk of falling through the net.

2 photo: peter ryan

some facts about ukcca in education
c a r n i v a l
case study

to date UKCCa has:
Ì rained over 200 local people
T Ì rokered international exchanges
B Ì rranged for over 50 carnival
A Carnival in the
in event stewarding, many of
these people have received a
including overseas visits to
Trinidad and Tobago for local
performers to create a touring
group from Luton Association Community
level 2 nationally accredited schools pupils to develop their of Mas to tour to many other
qualification opening up pathways carnival skills, international carnivals nationally and in July 1995 the social problems on
to stewarding and security jobs understanding and life skills internationally
the marsh farm estate in luton
throughout Luton Ì eveloped bespoke accredited
D Ì elivered tailored activities and
D
boiled over in three days of rioting.
Ì sed Carnival Arts in schools,
U courses and student materials in workshops for hundreds of
youth groups, community groups Carnival Arts people including people who a decade later and the marsh Farm
and events UK wide including: Ì ut carnival artists through Tutor have accessed mental health
P community have transformed their hopes
Mela, Black History Month, Training courses, accredited at services, young offenders, teenage
St Patrick’s Day, St George’s Day mums, young people classified as and aspirations. the uKcca’s marsh Farm
Level 3
and Luton International Carnival NEET and Pre-NEET, people with carnival connections Programme has
Ì on the contract as the lead
W
profound learning and physical been a fantastic success in delivering
Ì eveloped a Foundation Degree
D delivery partner managing an
in Carnival Arts in partnership with disabilities a programme of creative arts and
exciting programme for the widely
the University of Bedfordshire acclaimed Creative Partnerships Ì egun UKCCA steel pan and
B regeneration activities whilst providing
schools initiative samba bands capacity building and educational
opportunities.
the project targets young black and ethnic
UKCCa in education supports: minority communities and in three years
has benefited 300 young people through
Ì ork with new migrant
W Ì reserving carnival history locally
P
Ì eveloping more bespoke
D
youth inclusion and crime diversionary
communities raising the profile of and nationally through qualifications in varying Carnival
projects, provided over 150 weeks of
their own celebratory art forms, implementation of ambitious plans Art Forms including musical genres
street arts and culture for a National Carnival Archive training and measurably improved
Ì nternational collaborations
I
Ì nnovative inter-art form
I
Ì Creative apprenticeships attainment. through
Ì nset training for teachers
I embedding
collaboration events to encourage Ì Creative and media diplomas
development of the Carnival Art Ì orking as a key partner with
W carnival based
Forms in the 21st century Ì aterclasses
M the National Skills Academy
arts and
enterprise in
the hearts and

C a r n i va l i n e d U C at i O n
“The buzz that was felt by those minds of marsh
Farm’s young
who took part was so inspiring
people uKcca
and uplifting that now we gear has helped
up every year to parade and them to realise
perform in the costumes we’ve their true
designed and made.” potential.
photo: kevin Joseph

photo: kevin Joseph

beverley b ell-Jesso P
s icK le cell thalassa e m i a c a r e F o r u m

nurture
TALENT
Carn iva l E n t e r pr i s e
embedded in the services and activities delivered by
UKCCa are exciting opportunities for personal learning,
growth and, ultimately, career development and
financial independence. Central to these aims are the
services provided by the Business development Unit.

the b usiness u n i t p l ays a c r i t i c a l r o l e in support is delivered in partnership with local,
‘talent spotting’, nurturing, accommodating and regional and national partners.
developing entrepreneurs, micro businesses and At UKCCA, entrepreneurs and new businesses
Small and Medium Enterprises (SMEs) from across can share resources and knowledge, as well as
the carnival sector. Clients are supported through network and learn from each other to develop
a programme based on a one-on-one analysis of new ideas and markets. UKCCA also provides
their current capacity and learning requirements. clients with the opportunity to market their
Designed to accelerate the successful growth services through exhibition space, access to trade
of fledgling businesses, training and business fairs and open days.
C a r n i va l e n t e r p r i s e

“The UKCCA provides invaluable support,
resources and expertise which aids our group
to grow in ways we never envisaged.”
veroN ia c h a r l es , st K i tts N e v i s F r i eN ds c a r N i va l G r o uP, lu to N

4

photo: cLaire kendaLL
c a r n i v a l
case study

Carnival
Entrepreneur
Extraordinaire
levi roots is one of carnival’s most
famous sons. roots and his family
had been using his grandmother’s
‘secret recipe’ reggae reggae sauce
in their food stall at Notting hill
carnival since 1991.
he has proven that creativity, belief
and tenacity will get you anywhere you
want to go. levi has his own tv show
and several campaigns underway with
subway, bird’s eye and the launch of
his own range of tasty frozen foods.
cookbooks, restaurants, charity and
speaking engagements nationally and
internationally make levi one of the most
inspiring entrepreneurs of our time.
and he will never forget where it all started
from. “i will always have a stall at carnival
and can’t think of a more
fitting way to celebrate
the possibilities that
carnival provides for
the communities to

C a r n i va l e n t e r p r i s e
whom it is so culturally
embedded than the
uK centre for
carnival arts.
carnival really
is the land of
opportunity.”

aBOUt UKCCa photo: kevin Joseph

c a r n i v a l
case study

Carnival Elder
revered carnival elder,
arthur france mbe , chair of
both leeds West indian carnival
and New World steel orchestra,

raising the was instrumental in forming the
united caribbean association

STATUS
in November 1964 and founded
the first european West indian
derived carnival in 1967.
in 1985 he received the hansib award for
his work within the black communities
in leeds. in 1995 he received the voice
Newspaper community honour and the
cre race in the media award. on 14 June
Abou t UK C CA 1997 he was awarded the mbe.
“it gives me immense pleasure and
ten years ago virtually no one could have imagined pride to be able to convey my thoughts
that one of the most under funded and disparate art and goodwill to all those who have
worked tirelessly to create the much
forms could spark a cultural regeneration renaissance. needed uKcca. carnival is a celebration
of emancipation and there
no one could have predicted how a world wide is no denying the obvious
heritage of traditional creativity and celebration would and essential role it plays
throughout the uK in
galvanise all partners and join one of the most diverse encouraging different
cultures to co-exist,
communities in the UK, culminating in a landmark complement one
£7.3 million, state of the art building serving multiple another and

aBOUt UKCCa
enrich society
audiences. But one organisation had the vision and the at large.”

drive to make it happen…

photo: kevin Joseph

photo: kevin Joseph

photo: kevin Joseph
luton car n i va l arts d e v e lo p m e n t t r u st all its professional forms – from music, dance because of its excellent transport links, combined
(LCADT), was established in 1998 to add value and and theatre to circus arts, costume-making, with its very strong and respected carnival
extend the activities of the Luton International multimedia, arts and crafts throughout the UK. tradition, makes it an ideal location for such a
Carnival. Since that time, this vision has been Participation in, and enjoyment of, Carnival national centre to support the development of
much enhanced and extended, successfully Arts is of direct benefit to the community as it Carnival Arts throughout the UK.
positioning the UK Centre for Carnival Arts as can significantly increase cultural understanding
a national organisation and leading agency for and tolerance, enhance racial harmony, improve UKCCA FACILITATES :
carnival in all its guises. quality of life and build cultural identity and Ì Business development and inward investment
UKCCA works from a strategic to grass roots understanding, improve educational attainment – through the Centre’s business advisory
level complementing and supporting agendas for: and tackle social exclusion. scheme, incubation programme and street
Ì neighbourhood renewal and regeneration market facility
Ì tourism development WHy IS IT BASED IN LUTON? Luton is one Ì Developing employable skills - encouraging
Ì arts in education of the most diverse communities in the UK, people to take part in work experience and
Ì business development representing a range of cultures and nationalities practical workshops as a way of building
Ì community cohesion. reflecting the inclusivity and diversity so confidence, self esteem and pathways to higher
prevalent in Carnival Arts. Now in its 30th year, education and employment
WHAT’S SO SPECIAL ABOUT CARNIVAL ARTS? It the Luton International Carnival is one of the Ì Innovative educational programmes that raise
is often said that, “carnival speaks the language UK’s biggest annual events and a highlight of the educational indices at key stages right up to
of the street” and as such reaches out and international carnival calendar. It attracts over national degree level
aBOUt UKCCa

motivates young people and new audiences that 150,000 spectators and over 2,000 participants Ì Crime diversionary work tackling anti-social
traditional art forms find difficult to connect each year from all over the world. behaviour and channelling disaffection
with. As a national arts charity, UKCCA is the only The location of the Centre in Luton, outside through creative enterprise, workshops and
national dedicated centre of its kind, promoting of, but in close travelling distance from, London, international development work
excellence within the field of Carnival Arts in and easily accessible from other parts of the UK Ì Complementing town wide and regional

c a r n i v a l
case study

Carnival
Dancing Queen
charlotte burn has used her
experiences of carnival to run her
own dance classes supported by the
encouragement and training

photo: kevin Joseph
of uKcca.
through her continued engagement with
carnival arts charlotte has increased her
skill set, gained more experience and
self-confidence. she has also been able
to pass her experience and art form onto
regeneration through the creation and support “The innovative approach other young people.
of an ever growing carnival community
Ì Environmental sustainability achieved by
adopted by UKCCA to increase “i like going to the West end and musicals
incorporating hi-tech materials and designs cultural understanding and but don’t like poetry at all. it reminds me
into external and internal fabric of the building enhance social inclusion in of shakespeare and a bad experience i
design and creative outputs had a few years ago at the theatre. i don’t
Luton will have a significant like the opera because i can’t understand
Ì Sustainable resources disseminating best
practice, event management and support,
impact on improving the what they’re singing, but carnival beats
seminars, conferences and workshops that will quality of life for the local it all. the opportunity to actually
advance people’s understanding of carnival community now and for future teach street dance was
and its related sectors ensuring that projects great and through working
generations.” with uKcca i’ve become
can be self-sufficient
de b o r a h c a d m aN , c h i e F e x ecu t i v e oF e e da more interested in seeing
Ì Promoting Luton International Carnival as one
of the best carnivals in the UK, positioning carnival from behind the
Luton as a creative and cultural capital and enterprise programmes, over ten years, UKCCA, scenes, not just as a
increasing tourism alongside Luton’s International Carnival, is spectator.”
Ì Developing the National Carnival Archive expected to contribute over £34 million to the if i had to describe
– Carnival Essence. Carnival Essence explores region’s local economy. carnival in one
the role of carnival and the broader national The UKCCA will facilitate transformational word it would be

aBOUt UKCCa
and international significance of this powerful change for a historically undervalued art ‘flamboyant’!”
cultural and political force. form leaving a lasting legacy for generations to
come. We bring new audiences to the arts and
In addition to delivering ground breaking empower them through carnival to be the best
education, social inclusion and creative industries that they can be.

carnival
NEEDS yOU!
Su p p o rt i n g U K C CA
as a registered charity in a historically under
funded art form there are a number of ways in
which your support can make a big difference.
Your help means the UKCCa can reach as many
people as possible with the power of Carnival arts.

TRUST AND FOUNDATIONS Trusts and produce the best possible Carnival Arts, education
Foundations are vital to the work we do and our and enterprise projects. A range of options exist
ongoing development. The support from these from donating a small monthly amount to large
organisations enables us to provide the highest donations to fund specific appeals or events.
quality arts to the widest audiences including Whatever level you wish to be involved at, your
young people, families, black and minority ethnic contribution will be recognised and valued as
sUppOrtinG UKCCa

audiences and those suffering from poverty of testament to your commitment to changing the
aspiration and education. lives of others.

INDIVIDUAL gIVINg Giving to an art form that SPONSORSHIP UKCCA provides a range of
connects less privileged members of society to a exciting partnership options for corporate
world of creative possibilities is hugely rewarding. organisations. Whether seeking to fulfil corporate
Every individual who makes a donation to UKCCA social responsibility objectives or using carnival

plays a vital role in enabling us to continue to to deliver a message to target audiences; UKCCA

20

c a r n i v a l
case study

Carnival
Academic
dr. geraldine connor , creator of
carnival messiah was born in britain

to trinidadian and tobagonian
parents.
author, producer, artist, composer,
consultant but always educator and
champion of her carnival culture
Geraldine is driven to activate and
offers a unique, high impact, inclusive and help UKCCA pursue our carnival legacy. In return reinforce equal opportunity and access to
integrated communications outlet. The celebrated for a small annual subscription friends enjoy a education and artistic practice.
Luton International Carnival, one of the major range of benefits from a quarterly newsletter to “the global implications of carnival as
highlights of the European carnival calendar priority booking to dedicated events specifically an art form on the international cultural
offers just one opportunity to get involved. for friends. Friends’ membership makes an and political horizon reside within the
UKCCA also works regionally and nationally in ideal gift for anyone who holds carnival close to realms of the profound. carnival is a truly
delivering ground breaking carnival projects and their hearts or would like to contribute to the uplifting, cross-cultural experience that
welcomes corporate support in return for a host communities that UKCCA helps. is at once a symbolic commemoration
of tailored brand and company benefits. of the liberation of black people from
VOLUNTEERVolunteering is a great way to get
enslavement whilst at the same time
BECOmE A PATRON Carnival has not traditionally involved and support UKCCA. We are always
capable of achieving
enjoyed the levels of high profile support of looking for carnival ambassadors to help us reach
the very highest
some more main stream arts such as opera and more people. From volunteering at the Centre to
qualities of
theatre. This is despite the fact that it combines contributing to our website to taking part in the
dedicated
many of these art forms in the most accessible carnival event, volunteering with UKCCA will
collective and
and inclusive ways for all. UKCCA is working contribute to your own personal and professional
individual
hard to raise the status of Carnival Arts and development as well as helping others to achieve
artistic
welcomes support from individuals with a high their goals.
endeavour,
profile that could help us in this mission. Your

sUppOrtinG UKCCa
expression
support and association with UKCCA, combined For more information on any of the above and
with our evidence and expertise will ensure that please visit www.carnivalarts.org.uk excellence.”
carnival leads the way in providing equality of For an informal discussion on your support
opportunity for all. please contact the Marketing and
BECOmE A FRIEND The UKCCA carnival circle Development Manager on 01582 437100 or
of friends is an important group of people who email info@carnivalarts.org.uk

2

gET IN TOUCH
the UK Centre for Carnival arts exists to
bring the highest standards of Carnival
arts, fun, community cohesion, learning
and enterprise to everyone, what are you
waiting for? Get in touch!

We hope this brochure has given you a glimpse into the inspirational
world of carnival and the art forms that sustain this unique and
completely inclusive creative cultural experience. now that you know
that carnival is a 365 day a year process and not just an annual event
we very much hope that you’ll want to become more involved.

uK centre for carnival arts
3 st marys road
luton
bedfordshire
lu1 3Ja

tel: 01582 437100
Fax: 01582 437130
email: info@carnivalarts.org.uk

www.carnivalarts.org.uk
In producing this brochure we researched many different sources but are
particularly indebted to the carnivalpower.com History of Carnival section, the
British Association of Sound Systems and British Association of Steelbands.
Get in tOUCh

The Foundation steel trust
for Sport
22 and the Arts

“UKCCA goes beyond the parochial; it offers
regeneration in action. Engaging young c a r n i v a l
testimonial
people in Carnival Arts, diverting youth
away from crime and other disruptive
behaviour, this is a crucial first step in rudolph walker
actor
encouraging young people to benefit from
“as a young boy growing up
active participation.” in trinidad i loved to go out
m arG aret moraN , m P Fo r s o u t h lu toN
and watch the big bands of
masqueraders as they paraded
on the streets of Port of spain.
“Carnival holds a huge significance in the hearts and minds of
the people in Luton and brings a wealth of benefits to the local “it was a real opportunity to become
someone else and have true unbridled
community in terms of its economic and cultural value.” freedom of expression. later on, as
s imoN earles, G e Ne r a l m aNaG e r a young man, i would never miss the
Pla NN iNG corPo r at e s o c i a l r esP oNs i b i l i ty, lo N d oN lu to N a i r P o rt
festivities of the Nottinghill carnival in
london. as i’ve watched carnival fever
sweep across the uK, i am excited about
the new uK centre for carnival arts. it
“Carnival roots are universal and in this time means that the man off the street will be
of Globalisation it continues to connect beyond able to access the artform
and more people will
boundaries and can be used to express the rage, tap into the power

pain and aspiration of our contemporary times.” of carnival to
transform lives and
Greta meN dez, P e rFo r m aN ce a rt i st, encourage freedom
m ovemeN t the at r e d i r ec to r , c a rN i va l i st of expression and
creativity. Well

done carnival

“The UK Centre for Carnival Arts people! Well
done!”

will create jobs, enhance skills,
and attract international talent
and new visitors.”
a laN davey, chie F ex ecu t i v e , a rts co uNc i l e N Gl a N d

2


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