Notting Hill Carnival Strategic Review - Intelligent Space

Part I: Introduction
Summary
A true appreciation of the significance, meaning and complexities of the Notting Hill Carnival can never
be attained unless one first acknowledges the multi-dimensional nature of an event that has been
shaped by its historical, political, cultural and community origins. This section:
• introduces the Mayor of London’s strategic review of the Notting Hill Carnival (‘the Carnival’)
and the context in which the review was established;
• provides an overview of the Carnival Review Group process, its methodology and key stages;
• traces the cultural and historical roots of the Notting Hill Carnival, it’s multicultural and multidimensional
nature, as well as the strong political and community focus that shaped its
formative years;
• offers a brief description of the Notting Hill Carnival as it is today, highlighting the particular
changes that have taken place since 2000; and
• identifies the main ‘interest groups’ within the Notting Hill Carnival – the ‘stakeholders’. The
chapter also examines the relationships between these stakeholders and summarises their key
issues and concerns.
Recommendations
1. We believe that a greater awareness of the Notting Hill Carnival’s history and how it came into
being is critical to transforming the way in which the event is portrayed and ultimately perceived
by the public. As the principal custodians of the event, those responsible for organising and
delivering the Carnival must play a more proactive role in co-ordinating and initiating the
collection, preservation and dissemination of information about the Carnival’s history,
contemporary significance and meaning. We recommend the adoption of a more strategic
approach to the development of a Carnival Archives and Heritage Collections programme.
Possible programme partners could include organisations and institutions such as the Archives,
Libraries and Museums (ALM), Museum of London, Victoria & Albert Museum, Kensington &
Chelsea Community History Group and the Horniman Museum.
2. The Notting Hill Carnival affects a diverse range of individuals, organisations and interest groups.
Whilst the views of these Carnival ‘stakeholders’ tend to be represented throughout the event
planning and decision-making process to varying degrees, the voices of residents continue to be
marginalised despite the consultation meetings organised by the local authorities. We believe that
the Carnival organisers must take the lead when consulting residents on Carnival-related issues.
They must also take immediate steps to ensure that appropriate mechanisms are put in place so
that the views of residents are represented throughout the Carnival event planning and decision
making process.
3. As with all Caribbean influenced Carnivals, the traditions of making and playing ‘mas’,
(masquerade), making and playing ‘pan’ (the steel band), writing and performing calypso and
other Caribbean music are central to the ethos and vibrancy that is the Notting Hill Carnival. We
welcome the Arts Council’s continued commitment to support the Carnival and its decision to
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