Bright futures

Sunday, 3 May 2009 marked a paradigm shift for the future of the UK carnival sector. This was the day that the UK Centre for Carnival Arts (UKCCA) was officially launched. It was a day of celebration and of recognition. It was the culmination of an eight year journey for the UKCCA board, management, staff and stakeholders. And to the beat of the pan, the rhythm of the samba and the splendour of the mas (masquerade), this date marked a new beginning for UK carnival, carnival artists and carnival communities. The purpose-built site includes offices, a ‘mas camp’ where large carnival costumes and structures can be built and performances can be held, specialist workshop spaces, a crèche and business units to incubate emerging carnival companies. It is built around a paved ‘street’ where processions and markets can be held.
History men
Since the Notting Hill race riots of the 1950s, carnival has united and inspired multiple generations. The 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. His views on carnival mirror the values that have driven us to build the UK’s first centre dedicated to raising the status of carnival arts. Carnival is a celebration of emancipation and plays an obvious and essential role throughout the UK in encouraging different cultures to co-exist, complement one another and enrich society at large. And it’s not just a Caribbean tradition. The oldest carnival in the UK is in Bridgwater, Somerset. In 1881, the first carnival committee was formed and the first official Bridgwater Guy Fawkes Carnival paraded through the streets of the town, though it was the Victorians who established the format of the carnival for future generations to enjoy.
According to Arts Council England’s (ACE) ‘Taking Part’ Survey, one in five adults in the UK have visited a carnival in the past 12 months. This figure is testament to the unrivalled access and participation carnival offers for audiences of all ages and backgrounds. Carnival is renowned for speaking the language of the street and is particularly effective at reaching out to marginalised audiences. Whatever and wherever the audience, carnival delivers a range of creative artforms from costume design, wire bending sculpture, sound systems, samba to calypso, soca, steel pan, dohl drumming and dance in complex ways. Theatre, opera, multi-media and story telling are inherent to carnival traditions. 

Carnival artists
For the artists, UKCCA offers a unique opportunity for continual professional development and peer networking. One of the artists we’ve worked closely with is Colin Spalding of Cre8mas. Spalding has worked throughout the UK, Europe and Trinidad & Tobago and is recognised as one of the UK’s leading costume makers, creating inspirational costumes for carnival parades and projects from Israel to France to the Isle of Wight. He summed up the need for UKCCA from an artist’s perspective: “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 it’s 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 in aiding artists to be the best that they can be, and pay the bills!”
These are the sorts of comments that have spurred us on. In providing state of the art workshops, master classes, national and international residencies and research facilities for carnival artists we will empower them to explore and extend the artistic language of carnival and expand technical, production and performance skills. Against the backdrop of the National Skills Academy, this work leads on best practice skills development. The opening of the Carnival Learning Centre on the Isle of Wight in April last year and investment from the Learning and Skills Council is evidence of the contribution that carnival plays in lifelong learning. Our own role as delivery partners for Creative Partnerships in Luton and Bedford and the work of our emerging Education Directorate are further testament to an art form that engages and educates from root to fruit.
New qualifications
UKCCA has developed an approach to skills training, identifying areas where excluded young people at risk of falling through the net, and other groups who have been marginalised such as lone parents, disabled people and unemployed people, can be scooped up and engaged with a range of opportunities to suit their particular needs. There are a variety of pathways, beginning with informal engagement through attendance at an event or participation in mas camp, leading on through more structured skills development sessions towards courses resulting in accredited qualifications, and finally to employment or business opportunity. We are particularly excited about developing the world’s first foundation degree in Carnival Arts.
But getting to this stage has required a new dialogue with the wider cultural sector. To achieve recognition of carnival’s contribution and artistic merit we have had to evidence and communicate how carnival can complement local and regional agendas, contributing to neighbourhood renewal, regeneration, tourism development, arts in education, business development and community cohesion. UKCCA had to adapt to the complex languages of funding bodies to present carnival arts confidently, accurately and above all, professionally. Support from principal funders, ACE East, the East of England Development Agency, GO-East, European Regional Development Fund and Luton Borough Council has proved the power of partnerships. The future of carnival undoubtedly lies in this partnership model. Carnival artists must now take centre stage if they are to maximise new opportunities and capitalise upon complementary agendas. 2012 presents an unparalleled opportunity to use the carnival brand to position the UK’s creative offer to the world.
The challenge ahead
As a sector we still have some way to go. We must face prejudice head on, and tackle negative perceptions portrayed through biased reporting, which has proved a big problem for carnivals across the country. We must also take responsibility for the ways in which we work and the evidence base required from funders. In short, we must shout about success and be proud of our unique art form. The possibilities within and indeed beyond that goal will change lives, communities and cities all over the UK.