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UK Centre for

Carnival Arts

welcomes you to the

world of carnival

“At last, a centre dedicated strictly to carnival. This is a brilliant progression for carnival nationally and internationally!” Pax NiNdi, artistic director, combiNed arts services

“Never before has there been a time where we have such an opportunity to participate through the arts in a dialogue between cultures; which will become even more relevant as we lead up to the London 2012 Olympic & Paralympic Games.”

ali Pretty, artistis director, KiNetiKa

“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.”

saNdhiya Patel, om youth

c a r n i v a l

testimonial

Lenny Henry OBE

“carnival is an essential aspect of life in the caribbean – unfortunately i’ve never been to carnival in the caribbean, i don’t know why, maybe timing/career/travel sickness?

Whatever the reason, it’s never happened. 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 experiences at carnival – carnival’s great like that... it’s a celebration that welcomes all colours, creeds, religions – there’s a plethora of great music, and some extremely happy people... so go on...buy some jerk chicken and some Guinness punch – and save some for me...”

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Whilst access for all is our overarching aim, as the country’s first dedicated centre of excellence for Carnival Arts we’re particularly excited to put the professional development of carnival artists at the forefront of our objectives. This emphasis on developing world class artists in the fields of music, mas and performance is testament to to the fact according to an Arts Council East of England survey that one in five adults in the UK have visited a carnival 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 national home for this inspirational,

welcome to ukcca

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.

traditionally under-valued art form so that audiences past, present and future; from the cradle to the grave, no matter what religion, colour or social background, can unite in diversity and enrich their lives and opportunities through carnival.

It is our very great pleasure to invite you through this brochure to

See the mas. Hear the music And make your move...

paul anderson ExECUTIvE DI rECTOr

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all encompassing all embracing

the celebrated trinidadian novelist,

playwright and short-story writer Earl Lovelace evokes the essence of carnival in his book ‘Dragon Can’t Dance’, when one of his characters announces ‘all of we is one!’. This line sums up

exactly why the world participates in this festival of colour, music and masquerade. Carnival is an all-encompassing and all-embracing street festival that is celebrated across the UK, Europe, Africa, Latin America and the Caribbean.

CARNIVAL: PAST AND PRESENTCarnival 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!

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hundred of years ago folloWers of the

Catholic religion in Italy started the tradition of holding a wild costume festival right before the first day of Lent. Because Catholics are not supposed to eat meat during Lent, they called their festival, carnevale — which literally means “to put away the meat.” As time passed, carnivals in Italy became famous and the practice spread to France, Spain and all the Catholic countries in Europe. Then as the French, Spanish and Portuguese began to take control of the Americas and other parts of the world, they brought with them the tradition of celebrating carnival. Brazil, once a Portuguese colony, is famous for its carnival, as is Mardi Gras in Louisiana (where

African-Americans mixed with French settlers and Native Americans).

Carnival was introduced to Trinidad around 1785, as the French settlers began to arrive. Obviously banned from the masked balls of the French, the slaves would hold their own little carnivals in their backyards — using their own rituals and folklore, but also imitating their masters’ behaviour at the masked balls.

For African people carnival became a way to express their power as individuals as well as their rich cultural traditions. After 1838 (when slavery was abolished), the freed Africans began to host their own carnival celebrations in the streets that grew more and more elaborate and soon C

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became more popular than the balls. Circling villages was believed to bring good fortune, to heal problems and chill out angry relatives who had died and passed into the next world. Carnival Arts also borrow from the African tradition of putting together natural objects (bones, grasses, beads, shells, fabric) to create a piece of sculpture, a mask, or costume — with each object or combination of objects representing a certain idea or spiritual force.

feathers Were frequently used by africans

in their motherland on masks and headdresses as a symbol of our ability as humans to rise above problems, pains, heartbreaks, illness — to travel

to another world to be reborn and to grow spiritually. Today, we see feathers used in many, many forms in creating carnival costumes.

African dance and music traditions transformed the early carnival celebrations in the Americas, as African drum rhythms, large puppets, stick fighters, and stilt dancers began to make their appearances in the carnival festivities.

Carnival Arts still offer us a dynamic tool for self-expression and exploration, a tool to seek out our roots, a tool to develop new forms of looking at the world and its cultures, and finally, a tool to unite the world, to discover what we all have in common, and to celebrate what makes us different.

“Carnival has the unique power to engage, motivate and inspire both individuals and communities to extraordinary levels of creativity.”chris slaNN, FraNKie GoldsPiNK, carNival learNiNG ceNtre, isle oF WiGht

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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 the curriculum enriching learning on measurements, angles, shape and balance and other aspects of physics and geometry. carl has collaborated with the victoria and albert and science museums in london and continues to develop the 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 in the carnival world, i am positive uKcca will raise the artistic quality of all disciplines connected to carnival and street events, nationally and internationally. in working together we deliver the biggest impact for all.”

before We can explain to you What the

Carnival Arts are, you must understand what is meant by Masquerade (or ‘Mas’ as the Trinidadians would say). Mas stems from slavery days when slaves would parade as their masters with powdered white faces and masters would masquerade as their slaves at

their own balls. The idea was to play at being something else hence the term masquerade. Within the mas parade there are a host of high art forms spanning design, production, dance, music, performance and costume to name but a few. Let us introduce you to the exciting world of Carnival Arts.

AN INT RODUCT ION T O CARNIVAL art sOn 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.

the art of

carnival

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WIRE BENDINg A great deal of skill, precision and physics is required to take a piece of wire and twist it into the likeness of, for example, an elaborate dragon. Trinidadian and great wire bender, Albert Bailey, says, “this is a traditional aspect of culture, forever in demand, anywhere there is a carnival.” For without this skill the king, queen and individual costumes of a mas band would not even be able to stand up much less be performed on the Carnival stage”.

STEEL PAN OR STEEL BAND The banning of all types of drumming in Trinidad in the 1880s resulted in riots and ultimately Africans applied and readapted their tradition of the drum to create new forms and mediums of music. Biscuit tins and dustbins were manipulated and crafted into instruments, becoming the first “pans.” Steel pan music is therefore the sound and soul of carnival and was the music of the day that accompanied the mas bands on the road. Today bands are professionally organised with their own conductors, managers and producers and play closely fought competitions across the

world. The steel pan has developed over the years and now boasts a wide range from tenor pans, (shallow drum, about six inches deep with a range of up to thirty-two notes) to bass pans, (full-size forty-four gallon oil drums.)

mAS Each year carnival bands create spectacular costumes to reflect the theme that they have chosen. The costume making timeline starts with the bandleader’s idea of what the band’s next presentation should be; it then becomes a plot expressed in drawings and those drawings are created using metal or fibreglass frames, covered with fabric, beads, feathers and sequins. The larger costumes are usually more difficult to design and build. Created primarily from wire, netting, foam, and paint, these awesome costumes mesmerize and dazzle spectators and have evolved into “dancing mobiles”. Dancing mobiles are a form of performance art that combines the three-dimensional quality of large-scale sculpture with the dramatic and choreographic expressiveness of a live human performer.

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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 company, cre8mas.

recognised as one of the uK’s leading costume makers, he has made inspirational costumes for carnival parades and projects from israel to trinidad & tobago to Nice to the isle of Wight.

“as artists we have been crying out for a hub of excellence and creativity, a forum to meet and share ideas, exchange opinions and innovate new ways of working. uK carnivalists are among the best in the world and its about time we had a place to develop that talent to reach its full potential. the business and capacity building skills that uKcca provides will also prove invaluable for the carnival and wider cultural sector.”

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case study

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CALyPSO Calypso gained popular recognition from the 1930s and is a genre of African Caribbean music that was originally used by slaves to communicate. Calypso could be called the voice of social conscience. It typically involves social commentary, often laced with humorous satire on current events.

SOCA In the 1970s Trinidad and Tobago saw the onslaught of a more up tempo, less socially conscious version of calypso called Soca. While calypso is the voice of social conscience, Soca is party music blending traditional Calypso with Indian Music. Soca is not, as many people assume, a fusion of calypso and American soul music. In 1973, Lord Shorty introduced soca to the world with his hit song Indrani.

SAmBA DRUmmINg Samba developed in the early 20th century and is the most famous form of music arising from African roots in Brazil. The name is used to describe the intoxicating sounds of the instruments that comprise the batteria; ‘surdo’ drums, ‘tambourim’, ‘agogo’ and ‘ganza’,

and the seductive dancing that accompanies the rhythms. The most renowned samba showcase occurs during the Rio de Janeiro Carnival in February, where schools of dancers clad in plumes and beads perform to the rhythmic sounds.

DHOL DRUmmINg One of the infectious sounds in Asian festivals and around carnival time is that of the dhol drums. It dates back to the 15th century and is most commonly associated with the lively Punjabi music and dances. It is the baseline for modern Bhangra music and continues to grow in popularity throughout the world due to the migration of people of the South Asian diaspora.

SOUND SySTEmS The ‘sound system’, a product of 1950s Jamaica, has made a massive impact on UK culture. At carnival time, seasoned revellers come out to dance to their favourite sounds and they have certainly been instrumental in the rise of urban music as part of mainstream media today. Historically it was important to build a ‘sound’ with one man (it was mainly men in those days) who would buy music, another with an interest

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in electronics and one who liked to MC – ‘talk on the mike’. Playing a sound means that although you are using recorded music, the effect is of it being a live performance. The sound system influence has caused the demand for clubs and carnival bands to have high powered, multi-amplified PA systems as part of the live carnival experience.

FACE PAINTINg Face painting has become popular at Carnival events and is great fun for both the artist and the person being painted. Vivid colours, glitter and gems are used to create intricate, exciting designs based on a theme, design or an image straight from the imagination. Designs can take just minutes to produce so it’s great for keeping young children entertained and involved.

STREET DANCINg Fun, energetic and constantly evolving, street dance gets everyone going. The term is loosely used for the funky and eclectic mix of dances such as breakdancing, popping, hip hop new style and house dance. Outside of

dance studios and clubs, around carnival time you’re sure to find enthusiasts on the streets improvising and re-inventing the genre to the freshest urban tracks. Street dance as an art form is particularly appealing to young people.

“The lure is that special feeling when the concept, ideas and drawings come to life in the form of a finished costume. The process from design to creation is an ongoing love affair.”JaNet sKePPle, st. Kitts, Nevis aNd FrieNds carNival GrouP

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case study

Carnival DJJermaine langlais started ‘dabbling’ in music on his pc at home but was so impressed 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 perform with well-known musicians on his ‘home stage’ at the luton carnival. “it just seemed like a great way to get together with friends and get our music heard and recognised. having access to professional equipment and having the chance to perform with well-known musicians on stage at luton carnival was amazing.”

after five years in uKcca’s digital academy Jermaine is currently attending the university of hertfordshire studying sound design technology. along with his studies, he runs a music production company ‘making beats’ and works with vocal artists to produce their tracks.

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CARNIVAL in educat ionCarnival 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!

by celebrating and sharing the

skills, abilities and cultures of everyone in our community we can become more colourful, successful, energised, integrated, safer, inspired, proud and creative.

The UKCCA education directorate are highly experienced in tailoring

workshops and programmes of activity for young people who are from challenging backgrounds and re-engaging them in learning through exciting projects based on Carnival Arts. We do this by identifying geographical areas where excluded young people are at risk of falling through the net.

become

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photo: peter ryan

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ÌTrainedover200localpeopleineventstewarding,manyofthesepeoplehavereceivedalevel2nationallyaccreditedqualificationopeninguppathwaystostewardingandsecurityjobsthroughoutLuton

ÌUsedCarnivalArtsinschools,youthgroups,communitygroupsandeventsUKwideincluding:Mela,BlackHistoryMonth,StPatrick’sDay,StGeorge’sDayandLutonInternationalCarnival

ÌDevelopedaFoundationDegreeinCarnivalArtsinpartnershipwiththeUniversityofBedfordshire

ÌBrokeredinternationalexchangesincludingoverseasvisitstoTrinidadandTobagoforlocalschoolspupilstodeveloptheircarnivalskills,internationalunderstandingandlifeskills

ÌDevelopedbespokeaccreditedcoursesandstudentmaterialsinCarnivalArts

ÌPutcarnivalartiststhroughTutorTrainingcourses,accreditedatLevel3

ÌWonthecontractastheleaddeliverypartnermanaginganexcitingprogrammeforthewidelyacclaimedCreativePartnershipsschoolsinitiative

ÌArrangedforover50carnivalperformerstocreateatouringgroupfromLutonAssociationofMastotourtomanyothercarnivalsnationallyandinternationally

ÌDeliveredtailoredactivitiesandworkshopsforhundredsofpeopleincludingpeoplewhohaveaccessedmentalhealthservices,youngoffenders,teenagemums,youngpeopleclassifiedasNEETandPre-NEET,peoplewithprofoundlearningandphysicaldisabilities

ÌBegunUKCCAsteelpanandsambabands

ÌWorkwithnewmigrantcommunitiesraisingtheprofileoftheirowncelebratoryartforms,streetartsandculture

ÌInnovativeinter-artformcollaborationeventstoencouragedevelopmentoftheCarnivalArtFormsinthe21stcentury

ÌPreservingcarnivalhistorylocallyandnationallythroughimplementationofambitiousplansforaNationalCarnivalArchive

ÌCreativeapprenticeships

ÌCreativeandmediadiplomas

ÌMaterclasses

ÌDevelopingmorebespokequalificationsinvaryingCarnivalArtFormsincludingmusicalgenres

ÌInternationalcollaborations

ÌInsettrainingforteachers

ÌWorkingasakeypartnerwiththeNationalSkillsAcademy

some facts about ukcca in education

to date UKCCa has:

UKCCa in education supports:

“The buzz that was felt by those who took part was so inspiring and uplifting that now we gear up every year to parade and perform in the costumes we’ve designed and made.”beverley bell-JessoP sicKle cell & thalassaemia care Forum

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case study

Carnival in the Community in July 1995 the social problems on the marsh farm estate in luton boiled over in three days of rioting.

a decade later and the marsh Farm community have transformed their hopes and aspirations. the uKcca’s marsh Farm carnival connections Programme has been a fantastic success in delivering a programme of creative arts and regeneration activities whilst providing capacity building and educational opportunities.

the project targets young black and ethnic minority communities and in three years has benefited 300 young people through youth inclusion and crime diversionary projects, provided over 150 weeks of training and measurably improved attainment. through embedding carnival based arts and enterprise in the hearts and minds of marsh Farm’s young people uKcca has helped them to realise their true potential.

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Carnival Ent erprise 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 business unit plays a critical role in ‘talent spotting’, nurturing, accommodating and developing entrepreneurs, micro businesses and Small and Medium Enterprises (SMEs) from across the carnival sector. Clients are supported through a programme based on a one-on-one analysis of their current capacity and learning requirements. Designed to accelerate the successful growth of fledgling businesses, training and business

support is delivered in partnership with local, regional and national partners.

At UKCCA, entrepreneurs and new businesses can share resources and knowledge, as well as network and learn from each other to develop new ideas and markets. UKCCA also provides clients with the opportunity to market their services through exhibition space, access to trade fairs and open days.

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“The UKCCA provides invaluable support, resources and expertise which aids our group to grow in ways we never envisaged.” veroNia charles, st Kitts Nevis & FrieNds carNival GrouP, lutoN

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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 whom it is so culturally embedded than the uK centre for carnival arts. carnival really is the land of opportunity.”

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Abou t UKCCAten years ago virtually no one could have imagined that one of the most under funded and disparate art forms could spark a cultural regeneration renaissance. no one could have predicted how a world wide heritage of traditional creativity and celebration would galvanise all partners and join one of the most diverse communities in the UK, culminating in a landmark £7.3 million, state of the art building serving multiple audiences. But one organisation had the vision and the drive to make it happen…

raising the

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case study

Carnival Elder revered carnival elder, arthur france mbe, chair of both leeds West indian carnival and New World steel orchestra, was instrumental in forming the united caribbean association 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 1997 he was awarded the mbe.

“it gives me immense pleasure and pride to be able to convey my thoughts and goodwill to all those who have worked tirelessly to create the much needed uKcca. carnival is a celebration of emancipation and there is no denying the obvious and essential role it plays throughout the uK in encouraging different cultures to co-exist, complement one another and enrich society at large.”

luton carnival arts development trust

(LCADT), was established in 1998 to add value and extend the activities of the Luton International Carnival. Since that time, this vision has been much enhanced and extended, successfully positioning the UK Centre for Carnival Arts as a national organisation and leading agency for carnival in all its guises.

UKCCA works from a strategic to grass roots level complementing and supporting agendas for:Ì neighbourhood renewal and regenerationÌ tourism developmentÌ arts in educationÌ business developmentÌ community cohesion.

WHAT’S SO SPECIAL ABOUT CARNIVAL ARTS? It is often said that, “carnival speaks the language of the street” and as such reaches out and motivates young people and new audiences that traditional art forms find difficult to connect with. As a national arts charity, UKCCA is the only national dedicated centre of its kind, promoting excellence within the field of Carnival Arts in

all its professional forms – from music, dance and theatre to circus arts, costume-making, multimedia, arts and crafts throughout the UK.

Participation in, and enjoyment of, Carnival Arts is of direct benefit to the community as it can significantly increase cultural understanding and tolerance, enhance racial harmony, improve quality of life and build cultural identity and understanding, improve educational attainment and tackle social exclusion.

WHy IS IT BASED IN LUTON? Luton is one of the most diverse communities in the UK, representing a range of cultures and nationalities reflecting the inclusivity and diversity so prevalent in Carnival Arts. Now in its 30th year, the Luton International Carnival is one of the UK’s biggest annual events and a highlight of the international carnival calendar. It attracts over 150,000 spectators and over 2,000 participants each year from all over the world.

The location of the Centre in Luton, outside of, but in close travelling distance from, London, and easily accessible from other parts of the UK

because of its excellent transport links, combined with its very strong and respected carnival tradition, makes it an ideal location for such a national centre to support the development of Carnival Arts throughout the UK.

UKCCA FACILITATES : Ì Business development and inward investment

– through the Centre’s business advisory scheme, incubation programme and street market facility

Ì Developing employable skills - encouraging people to take part in work experience and practical workshops as a way of building confidence, self esteem and pathways to higher education and employment

Ì Innovative educational programmes that raise educational indices at key stages right up to national degree level

Ì Crime diversionary work tackling anti-social behaviour and channelling disaffection through creative enterprise, workshops and international development work

Ì Complementing town wide and regional

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regeneration through the creation and support of an ever growing carnival community

Ì Environmental sustainability achieved by incorporating hi-tech materials and designs into external and internal fabric of the building design and creative outputs

Ì Sustainable resources disseminating best practice, event management and support, seminars, conferences and workshops that will advance people’s understanding of carnival and its related sectors ensuring that projects can be self-sufficient

Ì Promoting Luton International Carnival as one of the best carnivals in the UK, positioning Luton as a creative and cultural capital and increasing tourism

Ì Developing the National Carnival Archive – Carnival Essence. Carnival Essence explores the role of carnival and the broader national and international significance of this powerful cultural and political force.

In addition to delivering ground breaking education, social inclusion and creative industries

enterprise programmes, over ten years, UKCCA, alongside Luton’s International Carnival, is expected to contribute over £34 million to the region’s local economy.

The UKCCA will facilitate transformational change for a historically undervalued art form leaving a lasting legacy for generations to come. We bring new audiences to the arts and empower them through carnival to be the best that they can be.

“The innovative approach adopted by UKCCA to increase cultural understanding and enhance social inclusion in Luton will have a significant impact on improving the quality of life for the local community now and for future generations.” deborah cadmaN, chieF executive oF eeda

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Carnival Dancing Queen

charlotte burn has used her experiences of carnival to run her own dance classes supported by the encouragement and training 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 other young people.

“i like going to the West end and musicals but don’t like poetry at all. it reminds me of shakespeare and a bad experience i had a few years ago at the theatre. i don’t like the opera because i can’t understand what they’re singing, but carnival beats it all. the opportunity to actually teach street dance was great and through working with uKcca i’ve become more interested in seeing carnival from behind the scenes, not just as a spectator.”

if i had to describe carnival in one word it would be ‘flamboyant’!”

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TRUST AND FOUNDATIONS Trusts and Foundations are vital to the work we do and our ongoing development. The support from these organisations enables us to provide the highest quality arts to the widest audiences including young people, families, black and minority ethnic audiences and those suffering from poverty of aspiration and education.

INDIVIDUAL gIVINg Giving to an art form that connects less privileged members of society to a world of creative possibilities is hugely rewarding. Every individual who makes a donation to UKCCA plays a vital role in enabling us to continue to

produce the best possible Carnival Arts, education and enterprise projects. A range of options exist from donating a small monthly amount to large donations to fund specific appeals or events. Whatever level you wish to be involved at, your contribution will be recognised and valued as testament to your commitment to changing the lives of others.

SPONSORSHIP UKCCA provides a range of exciting partnership options for corporate organisations. Whether seeking to fulfil corporate social responsibility objectives or using carnival to deliver a message to target audiences; UKCCA

carnival NEEDS yOU!Support ing UKCCAas 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.

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offers a unique, high impact, inclusive and integrated communications outlet. The celebrated Luton International Carnival, one of the major highlights of the European carnival calendar offers just one opportunity to get involved. UKCCA also works regionally and nationally in delivering ground breaking carnival projects and welcomes corporate support in return for a host of tailored brand and company benefits.

BECOmE A PATRON Carnival has not traditionally enjoyed the levels of high profile support of some more main stream arts such as opera and theatre. This is despite the fact that it combines many of these art forms in the most accessible and inclusive ways for all. UKCCA is working hard to raise the status of Carnival Arts and welcomes support from individuals with a high profile that could help us in this mission. Your support and association with UKCCA, combined with our evidence and expertise will ensure that carnival leads the way in providing equality of opportunity for all.

BECOmE A FRIEND The UKCCA carnival circle of friends is an important group of people who

help UKCCA pursue our carnival legacy. In return for a small annual subscription friends enjoy a range of benefits from a quarterly newsletter to priority booking to dedicated events specifically for friends. Friends’ membership makes an ideal gift for anyone who holds carnival close to their hearts or would like to contribute to the communities that UKCCA helps.

VOLUNTEERVolunteering is a great way to get involved and support UKCCA. We are always looking for carnival ambassadors to help us reach more people. From volunteering at the Centre to contributing to our website to taking part in the carnival event, volunteering with UKCCA will contribute to your own personal and professional development as well as helping others to achieve their goals.

Formoreinformationonanyoftheabovepleasevisitwww.carnivalarts.org.uk ForaninformaldiscussiononyoursupportpleasecontacttheMarketingandDevelopmentManageron01582437100oremailinfo@carnivalarts.org.uk

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 reinforce equal opportunity and access to education and artistic practice.

“the global implications of carnival as an art form on the international cultural and political horizon reside within the realms of the profound. carnival is a truly uplifting, cross-cultural experience that is at once a symbolic commemoration of the liberation of black people from enslavement whilst at the same time capable of achieving the very highest qualities of dedicated collective and individual artistic endeavour, expression and excellence.”

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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

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Inproducingthisbrochureweresearchedmanydifferentsourcesbutareparticularlyindebtedtothecarnivalpower.comHistoryofCarnivalsection,theBritishAssociationofSoundSystemsandBritishAssociationofSteelbands.

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“The UK Centre for Carnival Arts will create jobs, enhance skills, and attract international talent and new visitors.” alaN davey, chieF executive, arts couNcil eNGlaNd

“UKCCA goes beyond the parochial; it offers regeneration in action. Engaging young people in Carnival Arts, diverting youth away from crime and other disruptive behaviour, this is a crucial first step in encouraging young people to benefit from active participation.” marGaret moraN, mP For south lutoN

“Carnival holds a huge significance in the hearts and minds of the people in Luton and brings a wealth of benefits to the local community in terms of its economic and cultural value.” simoN earles, GeNeral maNaGerPlaNNiNG & corPorate social resPoNsibility, loNdoN lutoN airPort

“Carnival roots are universal and in this time of Globalisation it continues to connect beyond boundaries and can be used to express the rage, pain and aspiration of our contemporary times.” Greta meNdez, PerFormaNce artist, movemeNt & theatre director, carNivalist

rudolph walker actor

“as a young boy growing up in trinidad i loved to go out and watch the big bands of masqueraders as they paraded on the streets of Port of spain.

“it was a real opportunity to become someone else and have true unbridled freedom of expression. later on, as a young man, i would never miss the 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 means that the man off the street will be able to access the artform and more people will tap into the power of carnival to transform lives and encourage freedom of expression and creativity. Well done carnival people! Well done!”

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