Carnival people, something is happening — and we need to pay attention.
Across the UK, there is a growing conversation about carnival’s “direction,” its “standards,” and even its future identity. On one side, new initiatives are emerging through structures linked to Arts Council England and OutdoorArtsUK, where carnival is increasingly positioned within the wider “outdoor arts” framework.
On the other hand, we are now seeing independent calls for a “carnival standards manifesto,” inviting the public to define what carnival should be.
At first glance, both developments may seem positive. More attention. More structure. More conversation.
But let’s pause and ask a simple question:
Who is defining carnival?
Because carnival, as we know it, has never come from documents, policies, or frameworks.
It has always come from the ground.
From the mas camps.
From the panyards.
From designers, musicians, bandleaders, and the people on the road.
Carnival Has Always Changed — That’s Not New
There is a growing narrative that carnival has “lost its way” — becoming too commercial, too global, or disconnected from its roots.
But those of us who have lived carnival over decades know this:
Carnival has always evolved.
What we see today — whether in Trinidad, Notting Hill, or across the diaspora — is not a departure, but a continuation of that evolution.
Yes, there are tensions:
- traditional mas vs modern presentation
- community vs commercial realities
- cultural expression vs global influence
But these tensions are not new. They are part of carnival’s DNA.
The Real Issue: Voice and Representation
The real question is not whether carnival is changing.
It is who is shaping the narrative about that change.
When carnival is placed within external frameworks — whether “outdoor arts” positioning or formal “standards” — there is a risk that its cultural depth is simplified or misunderstood.
Carnival is not just a parade or a performance genre.
It is:
- history
- resistance
- identity
- creativity
- and lived community practice
That cannot be fully captured through surveys, policies, or broad categorisations.
A Conversation That Isn’t New
Some years ago, I explored the creation of a National Carnival Guild, working with a number of UK carnivals to develop a more connected, practitioner-led structure for the sector.
At the time, one of the key challenges was that carnival did not easily fit into existing frameworks. The idea did not progress.
Alongside this, I have also convened national carnival conferences over the years, bringing together practitioners, organisers, and stakeholders to reflect on the sector’s development. These conversations have consistently highlighted many of the same themes now being revisited.
It is therefore interesting to see how similar conversations are now re-emerging — this time from different directions.
The question is whether this moment will lead to something that is truly rooted in carnival practice…
or something shaped around it.
Consultation vs Real Engagement
Open questionnaires and public calls for input are useful.
But they are not the same as deep engagement.
Carnival is built through:
- negotiation
- experience
- trial and error
- and years of delivery on the ground
If we are serious about shaping its future, then practitioners must not just be consulted —
they must be part of the conversation from the start.
From Conversation to Action
There are already examples within the sector of what meaningful, practitioner-led development can look like.
One of these is the Carnival and Festival Lab, a programme I originally initiated on a voluntary basis in partnership with Continental Drifts. Following its development and early success, the programme received support from Arts Council England, enabling it to expand its reach and impact across the sector.
The Lab was developed specifically to address some of the long-standing challenges in carnival and festival practice — particularly those related to skills development, leadership, and access for the next generation.
To date, the programme has trained over 40 emerging carnival and festival producers at a senior level, with a focus on real-world delivery, mentorship, and progression into paid roles.
We are now beginning to see tangible results.
This year:
- 10 participants will be working within Notting Hill Carnival
- 12 will be working with me at St Paul’s Carnival across a range of delivery roles
including one individual working directly alongside me to gain hands-on experience in artistic direction.
The programme has also been recognised with an industry award for its contribution to diversity and sector development across outdoor arts, festivals, and carnival.
This kind of work demonstrates that the sector already holds many of the answers within itself.
The Next Generation
There are ongoing concerns about young people — what they are seeing, learning, and inheriting from carnival.
These are important questions.
But the answer is not to restrict or redefine carnival from above.
It is to:
- mentor
- educate
- and strengthen cultural understanding from within
Carnival has always been a space of freedom and expression. That comes with responsibility — but also with context.
So Where Do We Go From Here?
This moment could be important.
We have:
- increased visibility
- institutional interest
- and renewed conversation
But we must be careful.
If “standards” or frameworks are to emerge, they must come from within the culture — not be placed upon it.
They must reflect:
- The diversity of carnival
- The realities of modern delivery
- and the voices of those who live it every year
Final Thought
Carnival does not belong to any one organisation, network, or initiative and definitely not for the highest bidder, since no one owns it.
It belongs to the people.
So before we define what carnival should be in 2026 and beyond…
Let us first ensure that the voices shaping that future are truly rooted in the culture, the practice, and the lived experience of carnival itself.
