Notting Hill Carnival Strategic Review - Intelligent Space

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• an acknowledgement from each trustee of their sole and exclusive responsibility and duty to act in the best interests of NHCT; • the appointment of independent legal advisors; • training in board governance for trustees; • a commitment to keep the Charity Commission fully informed of the board’s actions and where appropriate to seek advice and guidance on any contentious issues; • taking all necessary steps to secure and protect the assets of NHCT; • the appointment of an independent chair to oversee and support the trustees throughout the programme of reform; and • the creation of an interim Carnival Arts Advisory Group (complete with terms of reference), with membership comprising of the elected representatives of the five Carnival Arenas. It was agreed that the trustees would work in partnership with this new group so as to ensure the integral involvement of the Arenas in the event planning and decision-making process for Carnival 2002. 3.31 It is clear that the difficulties experienced by NHCT prior to the Carnival in 2002 had a direct bearing on its ability to satisfy the conditions of funding placed upon them by various funding bodies. The Carnival arenas, wishing to have a stronger voice and influence on the decisions being taken about the Notting Hill Carnival, came together to create a new forum in the shape of the more powerful Executive Committee of the Carnival Arenas (ECCA). In the first few months of 2003, the Carnival arenas and ECCA were consulted and played an important role in shaping the governing documents of a proposed new organisation – London Notting Hill Carnival Ltd (LNHCL), which was established in May 2003. Each of the arenas elected 82 a representative to the board of directors of LNHCL, which assumed the mantle of event organiser for the 2003 Carnival. 3.32 The nature and complexity of the Notting Hill Carnival make the need for effective management and leadership vital for a successful and safe event. Both the Coopers and Lybrand report and the Arts Council review pointed to the need to increase the skills base and expertise of the community-based management structure running the Carnival as an essential requirement for growth. The need for democratic grassroots community ownership of the Notting Hill Carnival as well as proper investment and capacity-building in order to underpin such organisational development and professionalism were also seen as key factors, since its absence had made successive Carnival organisations extremely vulnerable in times of difficulty. The Review Group felt that consultation with the Charity Commission in 2002 had been necessary in order to ensure that the issues of governance that had been raised were adequately addressed and resolved by all parties. Although in some quarters, the funders had been accused of ‘interfering’ and attempting to ‘taking over the Carnival’, such accusations, whilst unfounded, also laid bare the contradictory messages emanating from successive Carnival organisers and some members of the wider carnival constituency. On the one hand, both groups viewed public funding as an essential requirement for sustaining the Notting Hill 82 The board of directors for the Company were democratically elected by the five Carnival a renas, and verified by the Electoral Reform Society in February 2003. 131
Carnival – at least in the short to medium term. On the other hand however, there appeared to be the assumption, mistakenly perhaps, that public funding should be provided with ‘no strings’ or conditions attached. The Review Group welcomed the creation of LNHCL, which represented a positive development forward. 132
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Notting Hill Carnival A Strategic R
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Contents Foreword Preface Carnival
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Preface Lee Jasper, Policy Director
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This strategic evaluation was made
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The Challenge: Executive Summary Th
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• recognises the grassroots natur
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provide the level of flexibility re
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• the development of a four-year
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SEU TEZ TfL WCC Social Exclusion Un
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and delivering these events has gro
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(a) the development of a multi-agen
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to commit considerable resources in
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(b) establish a Carnival Arts Educa
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Introduction The Review Process Und
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increase its overall investment in
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1.4.3 the involvement of and consul
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1.11 A third aspect of the Review G
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surgery of another Trinidadian, Dr
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mobilising strategy, which allowed
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ecause the plight of minority ethni
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are shown in Figure 1 below as blue
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Practice was introduced in 1993, se
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6. It is the responsibility of the
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1.53.2 lack of general awareness of
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planning process of Carnival. A key
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not be allowed onto the Carnival ro
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made available to provide opportuni
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1.76 The role of the media in shapi
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Public Safety, Responsibility & Acc
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initiate discussions with DCMS, GOL
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presented and was unable to provide
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The Issue of Public Safety Recommen
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2.4 In the main, whilst these recom
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Underground and London Transport pr
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number key public safety issues and
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Table 3: Carnival Public Safety Mat
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Table 3: Carnival Public Safety Mat
Page 77 and 78: Table 3: Carnival Public Safety Mat
Page 79 and 80: Stewarding & Route Management at Ca
Page 81 and 82: times, interrupted or delayed. A nu
Page 83 and 84: issues ranging from accommodation,
Page 85 and 86: Crime at Carnival 2.28 Making safe
Page 87 and 88: Event Management and Close Down Tim
Page 89 and 90: number of casualties treated - 598,
Page 91 and 92: • The installation of a temporary
Page 93 and 94: 2.53 In 2000, the circular Carnival
Page 95 and 96: Analysis of Carnival 2001 2.59 In A
Page 97 and 98: Figure (6): Barrier Locations at th
Page 99 and 100: 2.70.3 floats reduce available spac
Page 101 and 102: West-East “Ell” Route: the West
Page 103 and 104: circular route. The lowest route cr
Page 105 and 106: of the Carnival procession would be
Page 107 and 108: Evaluating the Carnival Public Safe
Page 109 and 110: Wider Implications for Major Events
Page 111 and 112: survey evidence on visitor numbers
Page 113 and 114: Independent Strategic Co-ordination
Page 115 and 116: framework for land use and developm
Page 117 and 118: Carnival Management & Leadership In
Page 119 and 120: 19. A clear distinction must be dra
Page 121 and 122: The Coopers & Lybrand Report (1988)
Page 123 and 124: Table 10: Three-Year Executive Mana
Page 125 and 126: The Arts Council Review (2001) 3.18
Page 127: job description and progression Art
Page 131 and 132: The Value of Carnival Funding Carni
Page 133 and 134: (a) create a new post of Carnival A
Page 135 and 136: Carnival as Part of a Wider Strateg
Page 137 and 138: 4.7 Held annually on the late May b
Page 139 and 140: • the first year of the Lambeth S
Page 141 and 142: The Benefits of Carnival Arts in Te
Page 143 and 144: carnival art projects. Although it
Page 145 and 146: esearch that is already available w
Page 147 and 148: • the key infrastructure and oper
Page 149 and 150: evenues within the industry are all
Page 151 and 152: meals and microwaveable snacks mean
Page 153 and 154: aise sponsorship in 2001 was as a d
Page 155 and 156: Part V: Future Vision - The Way For
Page 157 and 158: additional growth-related stresses)
Page 159 and 160: London Carnival Development Program
Page 161 and 162: Priority Areas No Key Recommendatio
Page 163 and 164: Appendix 1 Selected Bibliography Al
Page 165 and 166: London Arts Board (2000) Making a d
Page 167 and 168: The Greater London Authority Carniv
Page 169 and 170: • How could health and safety fac
Page 171 and 172: Stephen Hotson Area Commander, Brit
Page 173 and 174: 1. We believe that NHCT must be sup
Page 175 and 176: 7. In relation to the content of Ca
Page 177 and 178: Day/Date Presenters Topic of Discus
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Veteran’’, he has over 35 years
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Goldsmiths College, the Caribbean C
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Appendix 8 The Carnival Code As the
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Notes 187
Page 187:
Notes 189
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