Notting Hill Carnival Strategic Review - Intelligent Space

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integration of commercial floats with existing Carnival bands was again, a central message in their presentation to the Carnival Review Group. Adequate funding to enable the organisation to carry out its work was also a critical concern, although many of its members had the advantage of being resident DJs on a number of radio stations and were therefore able to draw an income from their DJ-ing skills all year round. In relation to the type of music played at Carnival, the CMA called for the introduction of a Carnival ‘music policy’ that placed the emphasis on the prominence of the more ‘traditional’ forms of Caribbean music, derivations and sources – soca, calypso, highlife, zouk, salsa and reggae. 1.70 The Review Group were extremely encouraged by the work currently being undertaken by the CMA to develop its own public safety code of best practice for its members. Entitled, ’On de Road’, the code aimed to set out the minimum standards and health and safety requirements for all mobile performance units participating at Carnival. One of the organisation’s key objectives in this regard was to have the code approved by the Health and Safety Executive. Full compliance with the code would then become a prerequisite to a band’s eligibility to perform at Carnival. Sound Systems Have a Place at Carnival 1.71 The views presented by the British Association of Sound Systems (BASS), the representative voice for static sound system DJs, were in contrast to those of the costume bands, steel bands and soca DJs. As an organisation, BASS received no financial support from the arts funding bodies or the Carnival organisers (save for a small appearance fee). A great deal of the cost of performing at Carnival was met by the DJs themselves personally. Some of the more successful sound systems are able to attract sponsors in recognition of their huge following and attractiveness to young audiences. There was a clear strength of feeling that more adequate funding was required to ensure that basic health and safety requirements (such as the provision of adequate staging and crowd management measures) could be met. There were also the ‘hidden costs’ of performing at Carnival – equipment hire and transportation costs for example. 1.72 BASS were not in agreement with the Review Group’s interim recommendations that those sound systems attracting larger crowds should be re-located to larger sites such as Wormwood Scrubs. This, they argued, would only serve to place larger crowds together and cause friction between different sound systems and their followers. Moreover, the recommendation was viewed as ‘punishing’ the sound systems for their success by banishing them from the main part of the Carnival environment. As an arena that had made a significant contribution to the August bank holiday weekend, this was seen as unacceptable. BASS was firmly of the opinion that sound systems were an integral part of Carnival’s cultural environment, playing music from the Caribbean and all over the world. In 1988 a 7:00pm shutdown time for all static sound systems was introduced and this had always been adhered to. Ironically, the 9:00pm close-down time for the rest of Carnival had yet to be achieved and at Carnival 2000, it was the mobile music floats that could still be found on the road as late as 01:00 am. 1.73 It was felt that more could be done by the traditional Carnival arenas to embrace BASS members. There appeared to be little or no recognition of the fact that the sound system DJs were able to use their abilities, knowledge and experience of the Carnival crowd to recognise problems around them and implement positive measures to quell crowd disturbances when they arose. Many had taken it upon themselves to finance the purchase of their own video cameras in order to record any signs of trouble. They appreciated the importance of working in partnership with the police and emergency services in order to deliver a safe and enjoyable Carnival. In many cases and without any direction from NHCT, BASS and its members had developed their own strategies to address safety issues. The prospect of losing more sites within the Carnival environment was not an acceptable option for the sound systems. Rather, they argued that more sites should be 54
made available to provide opportunities for younger, up-and-coming DJs to experience playing at Carnival. Arts & Funding Bodies 1.74 As major funders of the carnival arts, the Arts Council and the Association of London Government (ALG) focused on the Notting Hill Carnival as a community-based dynamic art form, produced through collaboration and partnership between music, cultural expression and art. As a major event, funders saw the Carnival as a unique ‘brand’. Concentrating more on Carnival’s artistic content, the Arts Council set out the parameters of their funding role, together with the strategic objectives that would guide any future investment: 1.74.1 supporting the artistic development of the Carnival • capacity-building Carnival organisations to enable them to liaise effectively with sponsors, statutory agencies and representative associations; • developing the Carnival Costume Gala as a major arts event; • increasing the amount of live music at the Carnival; • supporting the development and inclusion of new performance ideas in Carnival; and • strengthening the Carnival arenas and associations. 1.74.2 extending the reach of Carnival arts • supporting the development and implementation of more effective public relations and marketing strategies for Carnival events; • supporting the rising number of carnivals in London; and • nurturing creative partnerships between mainstream arts organisations and Carnival artists. 1.74.3 raising the profile of Carnival arts • helping to secure broadcast coverage for key Carnival and pre-Carnival events; • stimulating critical debates about the Notting Hill Carnival as an artistic and cultural event (as opposed to a street party or ‘rave’); and • working with the arenas to develop a more positive Carnival media profile. 1.74.4 increasing the inclusiveness of Carnival • developing a unique profile for Children’s Day (Carnival Sunday); • increasing the presence and involvement of disabled people; • encouraging wider participation, especially in the mas camps; and • ensuring representation of London’s diversity. 55
Page 3 and 4: Notting Hill Carnival A Strategic R
Page 5 and 6: Contents Foreword Preface Carnival
Page 7 and 8: Preface Lee Jasper, Policy Director
Page 9 and 10: This strategic evaluation was made
Page 11 and 12: The Challenge: Executive Summary Th
Page 13 and 14: • recognises the grassroots natur
Page 15 and 16: provide the level of flexibility re
Page 17 and 18: • the development of a four-year
Page 19 and 20: SEU TEZ TfL WCC Social Exclusion Un
Page 21 and 22: and delivering these events has gro
Page 23 and 24: (a) the development of a multi-agen
Page 25 and 26: to commit considerable resources in
Page 27 and 28: (b) establish a Carnival Arts Educa
Page 29 and 30: Introduction The Review Process Und
Page 31 and 32: increase its overall investment in
Page 33 and 34: 1.4.3 the involvement of and consul
Page 35 and 36: 1.11 A third aspect of the Review G
Page 37 and 38: surgery of another Trinidadian, Dr
Page 39 and 40: mobilising strategy, which allowed
Page 41 and 42: ecause the plight of minority ethni
Page 43 and 44: are shown in Figure 1 below as blue
Page 45 and 46: Practice was introduced in 1993, se
Page 47 and 48: 6. It is the responsibility of the
Page 49 and 50: 1.53.2 lack of general awareness of
Page 51 and 52: planning process of Carnival. A key
Page 53: not be allowed onto the Carnival ro
Page 57 and 58: 1.76 The role of the media in shapi
Page 59 and 60: Public Safety, Responsibility & Acc
Page 61 and 62: initiate discussions with DCMS, GOL
Page 63 and 64: presented and was unable to provide
Page 65 and 66: The Issue of Public Safety Recommen
Page 67 and 68: 2.4 In the main, whilst these recom
Page 69 and 70: Underground and London Transport pr
Page 71 and 72: number key public safety issues and
Page 73 and 74: 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 and 128:
job description and progression Art
Page 129 and 130:
Carnival - at least in the short to
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
Page 179 and 180:
Veteran’’, he has over 35 years
Page 181 and 182:
Goldsmiths College, the Caribbean C
Page 183 and 184:
Appendix 8 The Carnival Code As the
Page 185 and 186:
Notes 187
Page 187:
Notes 189
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