or ntre f ts UK Ce val ArC 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 C a r n i va l : pa s t a n d p r e s e n t 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 C a r n i va l : pa s t a n d p r e s e n t
all encompassingall embracingCA R N IVA L : PAS T A N D PR E SENTCarnival is all-encompassing and all-embracing.there are thousands of carnivals that take placethroughout the world, some born out of tradition, C a r n i va l : pa s t a n d p r e s e n tsome responses to oppression, some are abouttourism, 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 festivalplaywright and short-story writer Earl Lovelace of colour, music and masquerade. Carnival isevokes 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.C a r n i va l : pa s t a n d p r e s e n t 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 C a r n i va l : pa s t a n d p r e s e n t 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.C a r n i va l : pa s t a n d p r e s e n t 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 fromWIRE BENDINg A great deal of skill, precision world. The steel pan has developed over the israel to trinidad tobago to Nice toand 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 forelaborate dragon. Trinidadian and great wire a range of up to thirty-two notes) to bass pans, a hub of excellence and creativity, abender, Albert Bailey, says, “this is a traditional (full-size forty-four gallon oil drums.) forum to meet and share ideas, exchangeaspect of culture, forever in demand, anywhere opinions and innovate new ways of mAS Each year carnival bands create spectacularthere is a carnival.” For without this skill the king, working. uK carnivalists are among the costumes to reflect the theme that they havequeen and individual costumes of a mas band best in the world and its about time chosen. The costume making timeline startswould not even be able to stand up much less be we had a place with the bandleader’s idea of what the band’sperformed 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 reachSTEEL 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 businessresulted in riots and ultimately Africans applied covered with fabric, beads, feathers and sequins. and capacityand readapted their tradition of the drum to The larger costumes are usually more difficult building skillscreate new forms and mediums of music. Biscuit to design and build. Created primarily from that uKccatins and dustbins were manipulated and crafted wire, netting, foam, and paint, these awesome provides willinto instruments, becoming the first “pans.” costumes mesmerize and dazzle spectators and also proveSteel pan music is therefore the sound and soul have evolved into “dancing mobiles”. Dancing invaluableof carnival and was the music of the day that mobiles are a form of performance art that for theaccompanied the mas bands on the road. Today combines the three-dimensional quality of carnival andbands are professionally organised with their large-scale sculpture with the dramatic and wider culturalown 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 theC a r n i va l : pa s t a n d p r e s e n t 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 friendsin electronics and one who liked to MC – ‘talk dance studios and clubs, around carnival time perform with well-known musicians on hison the mike’. Playing a sound means that you’re sure to find enthusiasts on the streets ‘home stage’ at the luton carnival. “it justalthough you are using recorded music, the improvising and re-inventing the genre to the seemed like a great way to get togethereffect 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 andsystem influence has caused the demand for is particularly appealing to young people. recognised. having access to professionalclubs and carnival bands to have high powered, equipment and having the chance tomulti-amplified PA systems as part of the livecarnival experience. “The lure is that perform with well-known musicians onFACE 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 spopular at Carnival events and is great fun for academy Jermaine is currentlyboth the artist and the person being painted. attending the universityVivid colours, glitter and gems are used to create and drawings come of hertfordshireintricate, 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’sgreat for keeping young children entertained and finished costume. The along with his studies, he runs ainvolved. process from design music productionSTREET DANCINg Fun, energetic and constantly to creation is an company ‘making beats’ and worksevolving, street dance gets everyone going. Theterm is loosely used for the funky and eclectic ongoing love affair.” with vocal artists tomix 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 kendaLLc a r n i v a lcase studyCarnivalEntrepreneurExtraordinairelevi roots is one of carnival’s mostfamous sons. roots and his familyhad been using his grandmother’s‘secret recipe’ reggae reggae saucein their food stall at Notting hillcarnival since 1991.he has proven that creativity, beliefand tenacity will get you anywhere youwant to go. levi has his own tv showand several campaigns underway withsubway, bird’s eye and the launch ofhis own range of tasty frozen foods.cookbooks, restaurants, charity andspeaking engagements nationally andinternationally make levi one of the mostinspiring entrepreneurs of our time.and he will never forget where it all startedfrom. “i will always have a stall at carnivaland can’t think of a morefitting way to celebratethe possibilities thatcarnival provides forthe communities to C a r n i va l e n t e r p r i s ewhom it is so culturallyembedded than theuK centre forcarnival arts.carnival reallyis the land ofopportunity.”
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 associationSTATUS 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 JuneAbou t UK C CA 1997 he was awarded the mbe. “it gives me immense pleasure andten years ago virtually no one could have imagined pride to be able to convey my thoughtsthat one of the most under funded and disparate art and goodwill to all those who have worked tirelessly to create the muchforms could spark a cultural regeneration renaissance. needed uKcca. carnival is a celebration of emancipation and thereno one could have predicted how a world wide is no denying the obviousheritage of traditional creativity and celebration would and essential role it plays throughout the uK ingalvanise 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 societyaudiences. 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 levelaBOUt 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 communityÌ 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 understandÌ 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 seeingÌ 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 andIn addition to delivering ground breaking empower them through carnival to be the besteducation, 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 assUppOrtinG 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 photo: peter huggins 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 photo: peter huggins to trinidadian and tobagonian parents. author, producer, artist, composer, consultant but always educator and champion of her carnival culture Geraldine is driven to activate andoffers a unique, high impact, inclusive and help UKCCA pursue our carnival legacy. In return reinforce equal opportunity and access tointegrated 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 ashighlights of the European carnival calendar priority booking to dedicated events specifically an art form on the international culturaloffers just one opportunity to get involved. for friends. Friends’ membership makes an and political horizon reside within theUKCCA also works regionally and nationally in ideal gift for anyone who holds carnival close to realms of the profound. carnival is a trulydelivering ground breaking carnival projects and their hearts or would like to contribute to the uplifting, cross-cultural experience thatwelcomes corporate support in return for a host communities that UKCCA helps. is at once a symbolic commemorationof tailored brand and company benefits. of the liberation of black people from VOLUNTEERVolunteering is a great way to get enslavement whilst at the same timeBECOmE A PATRON Carnival has not traditionally involved and support UKCCA. We are always capable of achievingenjoyed the levels of high profile support of looking for carnival ambassadors to help us reach the very highestsome more main stream arts such as opera and more people. From volunteering at the Centre to qualities oftheatre. This is despite the fact that it combines contributing to our website to taking part in the dedicatedmany of these art forms in the most accessible carnival event, volunteering with UKCCA will collective andand inclusive ways for all. UKCCA is working contribute to your own personal and professional individualhard to raise the status of Carnival Arts and development as well as helping others to achieve artisticwelcomes support from individuals with a high their goals. endeavour,profile that could help us in this mission. Your sUppOrtinG UKCCa expressionsupport and association with UKCCA, combined For more information on any of the above andwith 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 firstname.lastname@example.org 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: email@example.com 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 C a r n i va l : pa s t a n d p r e s e n t 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