Notting Hill Carnival Strategic Review - Intelligent Space
Notting Hill Carnival Strategic Review - Intelligent Space
Notting Hill Carnival Strategic Review - Intelligent Space
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1.46 In 2001, internal management and staffing difficulties within NHCT led to the creation of a<br />
temporary company, ‘<strong>Carnival</strong> 2002 Ltd trading as the <strong>Notting</strong> <strong>Hill</strong> <strong>Carnival</strong> Trust’ to oversee the<br />
planning and organisation of <strong>Carnival</strong> 2002. In May 2003, following a lengthy consultation<br />
process and a series of elections carried out within the five <strong>Carnival</strong> arenas, a new company, the<br />
LNHCL was established. Supported by the statutory agencies, LNHCL was able to provide the<br />
community lead in organising and successfully hosting the <strong>Carnival</strong> in 2003.<br />
Listening to Stakeholders: Competing Perspectives<br />
Recommendations<br />
2. The <strong>Notting</strong> <strong>Hill</strong> <strong>Carnival</strong> affects a diverse range of individuals, organisations and interest groups.<br />
Whilst the views of these <strong>Carnival</strong> ‘stakeholders’ tend to be represented throughout the event<br />
planning and decision-making process to varying degrees, the voices of residents continue to be<br />
marginalised despite the consultation meetings organised by the local authorities. We believe that<br />
the <strong>Carnival</strong> organisers must take the lead when consulting residents on <strong>Carnival</strong>-related issues.<br />
They must also take immediate steps to ensure that appropriate mechanisms are put in place so<br />
that the views of residents are represented throughout the <strong>Carnival</strong> event planning and decision<br />
making process.<br />
3. As with all Caribbean influenced <strong>Carnival</strong>s, the traditions of making and playing ‘mas’,<br />
(masquerade), making and playing ‘pan’ (the steel band), writing and performing calypso and<br />
other Caribbean music are central to the ethos and vibrancy that is the <strong>Notting</strong> <strong>Hill</strong> <strong>Carnival</strong>. We<br />
welcome the Arts Council’s continued commitment to support the <strong>Carnival</strong> and its decision to<br />
increase its overall investment in the carnival arts. We believe that the <strong>Carnival</strong> Arenas would also<br />
benefit from funding programmes specifically targeted to support:<br />
(a) organisational, professional and vocational development and training initiatives in the carnival<br />
arts, design technology, construction, arts management, marketing, business-planning,<br />
finance, instrument making, live music and performance; and<br />
(b) the establishment of sustainable volunteer programmes to increase participation in carnivalrelated<br />
activities and events.<br />
4. During our strategic review, one of the most significant community developments to take place as<br />
a result of our public hearings and consultation around a possible route change was the formation<br />
of the <strong>Notting</strong> <strong>Hill</strong> Mas Band Association (NHMBA) in April 2002. We welcome this association<br />
and recognise its importance in ensuring that the costume bands are involved in the overall event<br />
planning and decision making process. We would encourage the Arts Council to consider<br />
providing development funding in order to strengthen the association’s role as the representative<br />
voice of the masquerade band movement.<br />
5. Pre-<strong>Carnival</strong> events – the Grand Costume Gala, Panorama and the Calypso Monarch Finals - are an<br />
important part of the <strong>Carnival</strong> season and alongside the August bank holiday weekend, represent<br />
the highlight in the <strong>Carnival</strong> calendar for the artistic Arenas. The role of the Arenas in planning<br />
and delivering these events has grown considerably in the last two years and we believe that this<br />
should continue with adequate financial support from arts funding bodies and the <strong>Carnival</strong><br />
organisers. The <strong>Carnival</strong> Arenas should be responsible for providing the artistic direction and lead<br />
on the staging of all pre-<strong>Carnival</strong> activities.<br />
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