sustained theatre

St Pauls Carnival has passed its fortieth year and surely it is established as an increasingly reputable African Caribbean annual festival.

Rebecca N.K. Gibbs in writing about the carnival experience explains that it is a multicultural event, bringing together the African-Caribbean, European and Asian communities in St Pauls, Bristol that is as relevant today as it was in 1968, if not more so...

t; The ethos is reinforced when it is often referred to as the Cultural gem of the West Country. As such there is a duty to sustain the annual event, to look to the future of Carnival and support it’s custodians of the next generation. But what can drive Carnival towards the future and what does carnival need to maintain this forward movement?

As is so often the case, looking to the past can illuminate a clearer way forward and provide reassurance in that approach. Carnival as a worldwide event is strongly rooted in the celebrations of ancient civilizations. These pre Christian festivals were absorbed and translated by Christianity as many were. In the West Indies pre - Lent festivities were re-joined with celebrations of African origin. throughout it’s metamorphosis, world Carnival continues to share similar elements; a social gathering, a celebration of physical expression through creativity in music, art and performance with masks, floats, costumes, dance and of course food and drink.

In order to ensure the future of carnival we must tap into the core values and needs of the individuals that make our communities and community festivals. To nurture their inherent creative nature and reassure them that their contribution is, not only, valuable and valued, but essential. Indeed the frustrations of our modern world may lie within the restrictions, often self imposed, to express ourselves creatively, and reach our full potential. This despondency can infiltrate all aspects of our lives leading to social exclusion. The solution would naturally be greater access to and validation of the arts not as an onlooker but through active participation; we learn and grow through practice.

''It was around 1997 when I moved back (to Bristol) and got other artists involved… I loved it because it gives the children one time a year to really express themselves and let them know there are opportunities in life through dance and music, there is a chance to develop yourself and your confidence, it also gave us a chance to form a relationship with the teachers. It’s so good to see some of the children who were part of the dance groups back then doing something with their lives now, it’s really fulfilling”

Rubba, Artist, performer / founder of Afidance. Contact rubba@afidance.co.uk

“To improve Carnival I would love to see many more young people getting involved, that’s why we’ve decided as a board to introduce a two tier board; where we will have a young people’s board that will eventually have much more empowerment and will be directly involved in organising Carnival. That’s the legacy I want to leave.”

Peninah Achieng, Chair of St Pauls Carnival Board 2009