Proposal to the Royal Borough of Kensington and Chelsea Notting Hill Carnival 2018
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Proposal to the Royal Borough of Kensington and Chelsea Notting Hill Carnival 2018
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CONTENTS Executive Summary ............................................................................................ 1 Introduction ........................................................................................................ 2 Project Timeline and Milestones ......................................................................... 4 Governance, Finance and Legal ........................................................................... 5 Marketing and Communications ....................................................................... 10 Operations ........................................................................................................ 13 Community Engagement .................................................................................. 21 Development and Partnerships ......................................................................... 22 Conclusions ....................................................................................................... 23 Appendix A: Directors/Trustees ........................................................................ 24 Appendix B: Governance Code .......................................................................... 27 Appendix C: Governance Structure.................................................................... 28 Appendix D: Advisory Council ........................................................................... 29 Appendix E - Audited Account ........................................................................... 31 Appendix F- Timeline and Milestones ................................................................ 54 Appendix G - Community Engagement ............................................................. 55
EXECUTIVE SUMMARY
This expression of interest is submitted by Carnival Village Trust in response to the notice
regarding the Notting Hill Carnival 2018 issued by the Royal Borough of Kensington and
Chelsea in December 2017.
In summary, Carnival Village Trust:
§ is an incorporated and registered charity;
§ is a National Portfolio Organisation (“NPO”) for carnival arts funded by the Arts
Council England (“ACE”);
§ has a board of directors/trustees who have the confidence of key funders;
§ has a board of directors/trustees that reflect all of the Carnival Arts Arenas;
§ has demonstrated sound governance in the operation of the charity and its subsidiary
company;
§ has a strong track record of working in partnership to deliver its charitable objectives;
§ has the infrastructure of two buildings, the Tabernacle and the Yaa Centre, to provide
year round support to its operations;
§ has permanent staff employed throughout the year;
§ has an exemplary track record of engaging with and supporting local communities;
§ is transparent in the management of its finances, sharing details with funders and
published full audited accounts each year;
§ is committed to working with key stakeholders at a strategic and operational level to
secure a safe, secure and enjoyable festival and an exemplary street arts event; and
§ has the capacity, competence and determination to deliver as expected by any
funding agreement.
“We see Carnival as a …. summer festival of street parades and fancy costumes (or not-so-fancy costumes); music
from sound system black boxes – here and there a steel band perhaps. Crowds – controlled and routed of course.
Judges. Disputed judges’ decisions and then the thing starts all over again. It’s a time of hustle and a time for the
small man to make a bread. Or lose a bread.”
1
Dr Pat Bishop
1
Pat Bishop, The Globalisation of Carnival Culture and its impact on the Carnival Diasporic People Today, The Inaugural
nd
Claudia Jones Carnival Memorial Lecture, The Victoria & Albert Museum, Carnival Village Trust, London, Friday 2 October 2009.
pg. 1INTRODUCTION
Carnival Village Trust (“CVT”) was incorporated as a company limited by guarantee in
September 2007 and is registered in England number 06368610. It is a registered charity
number 1125536. It currently has one wholly-owned charity trading subsidiary, TabernacleW11
Ltd, which is registered in England number 07506117.
In consideration of this expression of interest, it has incorporated a second wholly-owned
charity subsidiary, Notting Hill Carnival Ltd, which is registered in England number 11138258.
The Trust and its subsidiaries operate as a Group and publish detailed audited Group accounts
as required by the Charity Commission. A copy of our Group accounts is attached as Appendix
E. Biographies of trustees, directors and senior staff are attached as Appendix A. Our
organisational structure is attached as Appendix C. More details are provided elsewhere in this
document.
CVT is London’s Carnival Development Agency (“CDA”), funded by the Royal Borough of
Kensington and Chelsea (“RBKC”) and Arts Council England (“ACE”) to deliver an integrated
programme of carnival arts in two venues: Tabernacle and the Yaa Centre.
For many years, these two venues have been central communal spaces for the operational co-
ordination and artistic showcasing of the Notting Hill Carnival (“the Carnival”) and its artistic
expressions as well as being the ‘home’, meeting place and registered addresses of the five
carnival arts arenas and London Notting Hill Carnival Enterprises Trust (“LNHCET”). Both
venues have a long engagement with local communities using its spaces to display, showcase,
meet and participate.
Notting Hill Carnival is a standout event in London’s cultural calendar. It is the largest
celebration of Caribbean culture in Europe, visited by over a million Londoners and tourists
each year. Carnival makes a significant contribution to London’s economy and its status as a
culturally diverse global city. It stands alongside other international festivals such as the New
Orleans’ Mardi Gras, Brazil’s Rio carnival, Toronto’s Caribana and New York’s Labor Day
parade. It has helped define London as open, inclusive and progressive.
Though not a pre-Lenten festival in London, the Carnival is a ‘Diasporic Carnival’ that has its
acknowledged parentage from the carnival in Trinidad & Tobago. It is the re-fashioned, re-
distributed and re-interpreted Trinidad carnival that has developed into a quintessentially
British event with its own unique characteristics.
Carnival 2017 threw into sharp relief several issues of major importance, affecting all
stakeholders and constituencies that can only be addressed by a root and branch change
process. Levels of anger, distrust, frustration and dissatisfaction are high and many individuals
and organisations have taken up combative positions on some of these issues, adding to the
pg. 2complexity and myriad challenges that will face any organisation entrusted with the
management of the event or its artistic development in 2018 and beyond.
Against this challenging backdrop, CVT is willing to embrace this change process and draft,
consult and implement its own sustainable model, artistic framework and operational plans for
the 2018 Carnival and beyond.
CVT believes that it is uniquely positioned through its capability, track record, secure funding
for its core work and its pivotal role within the local and Carnival communities to provide the
necessary governance, professional and event management expertise and artistic leadership
to refashion the Carnival into an exemplar of a cultural street event. It can deliver this through
a clear artistic vision supported by detailed plans and sound management for each of the
following five overarching functions:
§ governance, finance and legal;
§ marketing, communication and promotion;
§ operations;
§ community engagement; and
§ development and partnerships.
This document presents an indicative approach with selected examples. More comprehensive
and detailed plans covering the five overarching functions of this expression of interest will be
formulated with strategic partners should we be successful.
In defining this indicative approach, we have considered, amongst other things, the following:
§ Notting Hill Carnival - London Assembly, Police and Crime Committee, January 2017;
§ RBKC residents survey on Notting Hill Carnival 2017;
§ Report by the Head of Culture and Special Projects on Notting Hill Carnival 2017;
§ Discussions at the Public Realm Scrutiny Committee on 18 December 2017;
§ Reclaim Our Carnival (“ROC”) Community Assembly on 25 September 2017;
§ RBKC Residents’ meeting on 30 October 2017;
§ Personal briefings and consultations with ROC;
§ Discussions with local agencies, individuals, Carnival participants and bands;
§ Support from two Carnival Arts Arenas;
§ Discussions with directors of London Street Events Ltd;
§ Redacted Movement Strategies reports 2016 and 2017.
pg. 3PROJECT TIMELINE AND MILESTONES
We have set out elsewhere in this document details of key considerations to be taken into
account when formulating a project timeline and appropriate milestones. Should we secure a
funding agreement for the organisation and management of the Carnival we will use project
management methodology to ensure that workstreams are identified, time constraints
established and milestones set. We have the benefit of individuals with Prince 2 and Six Sigma
project management qualifications and experience to ensure that we can rapidly develop a
comprehensive project plan that assists the delivery of a safe and effective Carnival.
There are as ever assumptions that at this stage we have made in preparing a draft plan:
§ RBKC will confirm its decision about any funding agreement as set out in its timetable;
§ Other Strategic Partners will conclude agreements on the new funding arrangements
for 2018; such agreements to be based on the level of funding provided in 2017 to
support Carnival;
§ Strategic Partners will agree and abide by clear lines of accountability and
responsibility;
§ Documentation will be provided to ensure a smooth handover from LNHCET;
§ Strategic Partners will cooperate fully with each other and CVT to achieve any agreed
milestones.
A copy of our draft project plan incorporating timelines and milestones is attached as
Appendix F. This has been developed on the basis of information available in the public
domain and from our own experiences of Carnival organisation.
pg. 4GOVERNANCE, FINANCE AND LEGAL
Strategic overview of the event
Carnival encompasses the extremes of performance culture; not being a singular art form but
an integrated framework for live performances in public spaces that are rooted in a diversity of
art forms involving the human body, space and time through Music, Mas, Movement &
Mayhem.
CVT sees Carnival as a free festival with complex influences & practices2 that attract a diverse
mix of audiences and participants. Applied concurrently, these deceptively unrelated
components irretrievably altered the form, aesthetics, demographics and performance of the
Carnival, changing it from a cutting-edge creative crucible where heritage, innovation &
excellence are celebrated to a market-driven, manufactured commodity performed as
improvised bacchanalia and introspective performance.
What constitutes the event’s artistic expressions are often “a tawdry repetitive imitation of a
feathers and beads Las Vegas showgirl, or …… a participant in a bland museum diorama of Africa,
as lifeless and bloodless as a pictorial National Geographic tour….” (Peter Minshall)
What constitutes a successful Carnival is overcoming the Metropolitan Police Service (“MPS”)
‘tipping points’ of crowd density & serious criminality; public perception of terrorism;
inclement weather and poor visibility to witness the performances.
CVT will challenge these perceptions with our signature messages that will define our overview
of the event and champion our vision to support unity and artistic excellence:
§ Street Art NOT Street Party
§ Participate NOT Spectate
Qualifications of Directors
The trustees of CVT, directors of TabernacleW11 and key staff of the charity are detailed in
Appendix A.
Ian Comfort and Alan Edwards are both lawyers with current practising certificates and have a
good understanding of company and charity law. The Directors are able to demonstrate the
2
The popularity of soca, bashment & Zouk; the credit crunch and austerity; threats of terrorism; computer-aided design;
complex & unprecedented operational challenges; the social network & digital marketing of participating groups; the making of
costumes in ‘Camps’ being overtaken by made-to-order costumes; the popularity of synthetic fabrics, fishing rods, beads &
feathers; the emergence of the entrepreneurial Band Leader; the attraction of ‘all-inclusive’ services on the road; the dominance
of T-shirts & Fun/Dutty Mas & the fitness craze with Zumba & aerobics.
pg. 5exercise of their general duties as set out in sections 170-177 of the Companies Act 2016 (“the
Act”) by:
§ Acting in the company's best interests, taking everything they think relevant into
account before making any decision.
§ Abiding by the company's constitution (“Articles”) and decisions taken under it.
§ Being open and honest, and remembering that the company's property belongs to it
and, as a charity, to its beneficiaries.
§ Being diligent, careful and well informed about the company's affairs using any special
skills or experience available.
§ Ensuring that the company keeps records of its decisions through written reports and
minutes.
§ Ensuring that its scheme of delegation is clear and remaining responsible for the work it
gives to others.
§ Avoiding situations where conflicts of interest and/or loyalty arise and having in place a
clear procedure for early disclosure of any potential conflict.
§ Seeking external advice where necessary and making best use of its external auditors
and other professionals to assist it in managing its affairs.
Of particular importance to the trustees and directors is the need to foster the company's
business relationships with funders, suppliers, customers and others, the impact of the
company's operations on the community and the environment, and the desirability of the
company maintaining a reputation for high standards of business conduct3.
Governance statement and structure
CVT believes that good governance in a charity is fundamental to its success. The foundation
of good governance is rooted in compliance by trustees of their legal, fiduciary and regulatory
responsibilities. CVT has adopted the Charity Governance Code published by the Charity
Commission4. A summary is attached as Appendix B. The Code has proved useful in helping
CVT trustees to be effective in their role and will be applied to the governing structure as
detailed in Appendix C. This will ensure that the management of Carnival is robust and
efficient, benefiting from being part of a more experienced and professional corporate entity
and being underpinned by genuine engagement with communities, networks and participants.
3
Section 172 Companies Act 2006
4
https://www.charitygovernancecode.org/en
pg. 6In order to manage the particular
risks associated with the Carnival,
and in line with guidance issued by
the Charity Commission, CVT has
established a subsidiary company,
Notting Hill Carnival Ltd (“NHC”),
which will act as the legal vehicle
for Carnival operations.
The Board of NHC will comprise
three of CVT’s Trustees and two
co-opted community members chosen, post-award of any funding agreement, following an
open invitation for nominations or applications and selected by a nominations committee
established by CVT.
The co-opted directors shall have the appropriate experience and expertise required of other
directors and, all being equal, ensure representation by gender and age.
This Board will be supported by an Advisory Council (“the Council”) of up to eleven members,
made up of Carnival arts representatives, community and cultural interests representatives,
specialist advisers and a Sankofa Arena with an option to widen public engagement and
participation by co-opting individuals or nominees whose experience and knowledge will
maximise the diversity and capacity of the Board.
The composition and draft terms of reference for the Council are set out in Appendix D.
A skills audit will be undertaken of the appointees of the Council with a view to filling any gaps
and to ensure a diverse and inclusive Council. On award of any funding agreement, CVT will
launch a major publicity and media programme to announce the new arrangements for
Carnival 2018 and to invite interest, nominations and applications for the various positions:
paid, advisory and voluntary.
The NHC Board will also be supported by an Executive Board. This board will be the second tier
for the management of Carnival, comprising senior members of staff employed by the CVT
Group. Each member will have specific roles and responsibilities for the management of
Carnival, some mirroring the Council’s designated representative and having overall oversight
and lead responsibility for that constituency and that advisor.
Financial transparency
CVT shares its Group management accounts with its key funders and is transparent about its
financial dealings. It files full audited accounts with both Companies House and the Charity
pg. 7Commission. The Group accounts incorporate the accounts of any subsidiary. The Directors do
not agree with use of the small company exemption. A copy of the latest draft audited
accounts for the Group are attached as Appendix E.
As an example of its transparency, in 2016, the trustees became concerned about financial
irregularities. They engaged new accountants to investigate their concerns. As a result, a
significant, sophisticated and systematic fraud was identified. The trustees immediately
reported this fraud as a serious incident to the Charity Commission and also alerted key
funders, including RBKC. The trustees kept the Commission and funders informed and worked
with the police to ensure a prosecution. The trustees continue to work with authorities to
recover the loss. Most of this loss was from TabernacleW11, which was set up to protect the
charity, as far as possible, from any significant risks.
Budget Management
The CVT Board agrees a budget each year and monitors this through monthly management
accounts. These are shared with key funders. Variances are addressed to ensure that end of
year outturn is as planned. Staff are aware of income and expenditure budgets and take steps
to achieve income targets and where necessary, cost reductions.
Financial plans for 2018 and beyond
At this stage, CVT is unable to provide a comprehensive breakdown of the budget needed to
provide a financially sustainable Carnival for 2017 and that meets the agreed objectives
including safety and artistic content. Initial research indicates that previous organisers have
required around £1 million to provide operations, infrastructure, stewarding, event
management, insurance, licences and communications. We will work with the Strategic
Partners to agree the new funding arrangements for 2018 and to ensure that a detailed budget
is in place by the end of February 2018.
For 2018, time is too short to enable a sponsorship and fund-raising strategy to have
guaranteed impact. In these circumstances, CVT’s success in Carnival would be dependent on a
guaranteed baseline funding similar to the level of public funding as was allocated to LNHCET
and its associated contracts in 2017. We anticipate that public funding will be supplemented by
sponsorship and grants from various bodies.
CVT has already had an indication that grant funding would be made available to employ a full
time corporate fundraiser who will lead on securing significant sponsorship for Carnival. Our
aim is that over a three-year period we would significantly reduce, if not remove, our ongoing
need for public funding.
pg. 8Management of supplier and personnel contracts, including training programmes
Both CVT and its subsidiary TabernacleW11 Ltd, manage a significant number of supplier
contracts. Tenders and competitive quotes are used to get the best mix of quality and cost.
Contracts are monitored to ensure compliance and where necessary action is taken where
suppliers are failing to deliver. The Group also engages staff both directly as employees and on
contracts of service. It has in place appropriate personnel contracts and terms and conditions
of service. The Group ensures that all individuals employed are required to undertake
mandatory in-house training in aspects of health and safety management, equality and
diversity, safeguarding, data protection and customer care.
Confirmation of feedback mechanisms
Over a number of years, CVT trustees and senior staff have met regularly with members and
officers of RBKC in a Partnership Board. This has proved to be effective in managing
relationships and providing feedback. CVT can confirm that it will ensure that similar effective
feedback mechanisms are in place with the Strategic Partners Group (“SPG”) and Operational
and Safety Planning Group (“OSPG”). These mechanisms need to be agreed by all partners and
cannot be detailed in this document. CVT can also confirm that it will ensure attendance at all
multi-agency operational meetings either through its staff, trustees or both.
Confirmation of lines of decision making throughout the year and assurance that the “on
the day” structure and channels of liaison and communication are robust.
The governance structure set out in Appendix C provides for lines of decision making that will
be in place throughout the year. A clear scheme of delegation will be in place alongside any
terms of reference. CVT recognises that it is essential that there is an “on the day” structure
and channels of liaison and communication that are agreed between all partners. CVT is keen
to replicate the command structure adopted by the Metropolitan Police Service (“MPS”) and
local authority and will agree how it will operate on the day with all key partners.
CVT can confirm that it will have staff, directors and trustees available on the day that are not
encumbered by other commitments.
pg. 9MARKETING AND COMMUNICATIONS
Communications expertise and facilities
CVT benefits from having the Tabernacle, in RBKC, and the Yaa Centre, in the City of
Westminster. Both operate throughout the year and have permanent staff. Members of staff
regularly deal with enquiries regarding the Carnival, as the Tabernacle is the registered office
of LNHCET, although they do not have a physical presence on site. Tabernacle benefits from a
staffed reception to greet visitors and ensure that enquiries are dealt with efficiently and
effectively.
The two venues have hosted meetings, seminars and conferences on Carnival and are currently
used as a base by the five Carnival Arts Arenas5. CVT has websites for each of its venues,
publishes newsletters, regular online updates and promotional material. It has established its
own Carnival Radio and TV station, which came into operation in 2016 and regularly feature
live feeds on Facebook.
CVT has communications expertise in-house. A recent successful funding application has
enhanced this by enabling the employment of a member of staff responsible for digital media
and marketing from the beginning of March 2018.
CVT does not underestimate the additional communications expertise and capacity required to
be proactive and responsive to the media interest in Carnival. We have had preliminary
discussions with Four Communications6, a leading independent, integrated communications
agency, that has indicated that it can provide the comprehensive support that would be
required. This includes stake-holder mapping and engagement strategy; year round press
office and corporate communications; crisis management; government relations; messaging
workshops for performers, participants and carnivalists; media partnerships; sponsorship
strategies and media management as well as specialist publicity in culture, destination/travel,
music, community/BAME/youth media.
How messages, information, and intent in planning to facilitate the event will be relayed in
2018
Extensive media interest and public scrutiny are anticipated with the public announcement of
the new arrangements and governance for Carnival. CVT will initiate a comprehensive media
5
British Association of Steelbands (BAS), Association of Calypsonians UK (ABC/ACUK), British Association of Static Sound
Systems (BASS), Carnival Arts and Masquerade Foundation(CAMF), Caribbean Music Association (CMA)
6
The agency has a track record in delivering campaigns on a community, London-wide, national, regional and international
scale. With expertise in BAME community work, it is also in a position to deliver a comprehensive marketing campaign
targeting key stakeholders including carnivalists, residents, non-carnivalists, local businesses and visitors.
pg. 10and publicity campaign to demonstrate its capability to deliver a safe, secure and artistically
successful Carnival, highlighting the new features that will deliver this goal.
CVT’s community engagement and outreach strategy will underpin this campaign with special
features to ensure that all messages, information and announcements reach their intended
targets.
For each targeted constituency, CVT will develop a programme to reach out using digital and
social media, assemblies, announcements and open days.
Sponsorship approach and plan
CVT’s goal is to make the Carnival increasingly less dependent on public funding under its
stewardship. We have an early indication that grant funding would be made available to enable
the employment of a full-time fundraiser who will lead on sponsor engagement. This will be
supported by the sponsorship division of Four Communications PLC, which has a track record
in securing sponsorship for cultural events. A development programme to achieve this will be
produced that will include:
§ Being the corporate lead and co-ordinator to seek sponsorship and support in kind for
the whole of Carnival.
§ Acting as the conduit for funding provided by the Arts Council England and other
charitable bodies that contribute money to participate in Carnival.
§ Targeting corporate sponsors and donors for key standalone aspects of Carnival -
Naming rights, Innovative Performances, Celebrations of 2018 Milestones and
Anniversaries and Key strategic sites.
Internal communications with all bands, sound systems and Carnivalists
All communications and engagement with bands, sounds systems and Carnivalists will be
direct and not through any intervening body. The existing Carnival Arts Arenas have a key role
to play but will not have an automatic right to representation on the Council nor be the
gatekeepers for engagement and participation in the Carnival or with CVT. All participants in
Carnival will have direct access to the CVT staff employed to manage the event.
pg. 11A published strategy and plan for all Carnival Weekend public communications
CVT will develop and publish a comprehensive marketing and communications strategy and
action plans to relay its messages, information and plans paying attention to a strategy for any
issues arising during the three days of Carnival.
The strategy will ensure that our messages are received, understood and supported by the
local community, performers, participants and the public. A major feature of this strategy is
the promotion of a number of key ‘wins’; new features of the Carnival that will demonstrate
the operational, cultural and political independence of the new organising body and sign post
positive developments for the years ahead.
Our marketing strategy will include the updating of our comprehensive interactive website
making it a user friendly, content laden website with multiple calls to action with a library of
carnival arts information, details of the 2018 Carnival, links to sites of our creative partners,
statutory agencies and performers. The website will have intermediate and pre-entry
platforms that can be linked to those of our partners and stakeholders.
The strategy will specifically seek to:
§ influence the public messages
§ give assurances to all stakeholders
§ attract sponsors to the new beginning
§ inform about the benefits of the planned changes
§ provide regular updates, postings and media releases
§ respond promptly and appropriately to any emergencies.
Both venues managed by CVT will be central communal contact points for all related Carnival
activities with the lead taken by the Tabernacle. The reception of the Tabernacle will act as the
first port of call for handling enquiries and requests for information and, during Carnival, will
house the operational and management centre for the three days of Carnival.
Board members and senior staff will be media trained and individuals designated as
spokespersons and the voices of Carnival, accessible to the media throughout the year and
specifically, 24 - 7, the three days of Carnival and for five days after.
pg. 12OPERATIONS
CVT notes that the planning assumption is that security and safety planning criteria remain the
same as 2017 and that the operational issues and challenges identified in debriefs from
Carnival 2017 are addressed, with a particular focus on the Carnival procession. We will ensure
that the brief given to our staff or consultants will include the planning assumptions and the
operational issues and challenges for the past three years.
Provide comprehensive event management
CVT is aware that much of the events management for Carnival 2017 was undertaken by
London Street Events (“LSE”), funded by the Strategic Partners. CVT is also aware of the
tension that appears to have developed between LSE and LNHCET; an apparent lack of
accountability. For Carnival 2018 and beyond to be managed effectively, there must be clear
lines of accountability in place. CVT will consider both the strengths and weaknesses of
outsourcing aspects of event management as well as developing the capacity to deliver in-
house through its own people.
Immediately after award of any funding agreement, CVT will initiate its operational planning
for 2018 by:
§ Reviewing the security and safety planning criteria of 2017;
§ Identifying the operational issues and challenges in 2017;
§ Requesting unredacted copies of the Movement Strategies Reports of 2016 and 2017;
§ Convening meetings with leads on the OSPG;
§ Seeking hand over meetings with LNHCET and LSE;
§ Convening two Carnival Assemblies – Residents/Public and Carnival Participants -
focusing on planned and aspirational features for 2018, operational issues and
challenges.
In consultation with key stakeholders, CVT will the draft a comprehensive Event Management
and Operational Plan (“the Plan”) for 2018, which will include:
§ lines of decision making;
§ method statements;
§ new features;
§ risk assessments and risk management approach;
§ insurance and licences;
pg. 13§ contingency planning;
§ “on the day” structure and channels of liaison; and
§ Event Liaison Team representation.
We note the current dates set for delivery of the Plan (9 February 2018) and for consideration
by the OSPG (14 February 2018) and are concerned that these target dates leave little time
after notification of funding agreement to work collaboratively to develop a comprehensive
and meaningful plan. We would want to discuss this deadline with partners to see if it could be
moved by a week or so in order that detailed work can be carried out. However, if this is not
possible we will ensure delivery by the deadline. We will not hesitate in making radical
changes where such reviews indicate the need for change.
Based on current challenges the Plan will target the processional route, entry and egress
points, features for each day, stewarding and route marshalling, sound systems locations and
presence on the days of Carnival, band and production support.
Over the years of its involvement in Carnival as a CDA, CVT has considered recurring issues
that feature in the operational planning of Carnival and cited as challenges. These
considerations will be developed into firstly, an aspirational proposal and if deemed to be
worthy of further study, into a fully costed and planned proposal that would form an agenda
item of the first Assemblies. As they demand substantial changes that many may not be
prepared to consider, the proposal is to put all the aspirational proposals on the table to gauge
the responses of all stakeholders and participants and to identify what can be implemented in
the limited timescale for implementation.
CVT will develop:
§ The Judging Zone;
§ World Music Stage on Powis Square; and
§ Panorama on Emslie Horniman’s Pleasance.
However, the programming and management of all three will be reviewed so that they are
integrated into CVT’s revised artistic focus of the Carnival 2018.
CVT will also review two features of Carnival - the Press Launch and the Opening Ceremony.
These events have been embarrassments for the Carnival and in our planning, we will take
active steps to professionalise them and invest them with sufficient status and quality to
appeal to a world audience that befits a major street festival in Europe.
To tackle the contributory factors that could impact on the event being a safe and secure one
as well as a showcase of the excellence in Carnival Arts, there are many changes that merit
pg. 14further discussions with participants. Options for reconfiguration of Carnival will be consulted
on including:
§ Maintaining the traditional approach - keeping the current configuration and plans.
§ The designation of Sunday as Children’s Day with exclusive participation reserved for
children and teenagers for part of the day or the whole day.
§ The designation of Monday as The Carnival Parade with exclusive participation of
performing bands.
§ The division of Sunday into 3 event segments: J’Ouvert; Children’s Parade; Fun Mas and
Static Sound Systems.
§ Making Sunday the exclusive day for Sound Systems and Monday exclusive day for Mas
Bands only.
In addition, as artistic excellence should be one of the main criterion for eligibility to participate
in Carnival we would want to ensure that:
§ Performing bands will be eligible to participate if they fulfil the criteria set by CVT.
§ Two criteria: past achievements and artistic quality.
§ Application will be by provision of proposals for performance along the route - plans,
designs and presentation.
§ Selection will be by a desk top assessment of applications.
§ There will be a pre-judging of each’s participants progress as eligibility can be revoked
if there is no evidence of artistic quality.
§ Artistic quality and performance will be judged.
§ A minimum score for excellence will be established.
§ Bands not achieving that score will lose their right to participate in the following year
§ CVT will review how cultural and artistic integrity of a performing group is determined.
With the greater emphasis on artistic quality as the main criterion for participation, CVT will
seek sponsors to re-introduce features to recognise excellence, creativity and innovation in
Mas, Music and Movement:
§ Participation/Development fees;
§ Prizes and Awards;
§ Pre-Carnival Gala;
§ Post-Carnival Award Ceremonies.
pg. 15How the Children's Day will be re-invigorated
CVT is fully aware of and understands the concerns about Carnival Sunday. In its current form,
sadly, it cannot be referred to as Children’s Day. An urgent review will be made of how this day
is used and how changes can lead to increased participation of children and young people. This
review will focus on how each of the three elements of the day – J’Ouvert, Fun/Dutty Mas and
Children’s Bands – impact on each other and the plans needed for ensuring the re-invigoration
of Children’s Day.
CVT is also aware that decisions have been made by LNHCET for changes to be introduced in
2018 and these will be set aside so that a comprehensive engagement with all parties can be
initiated and the issues re-visited.
However, CVT’s understanding is that:
§ Sunday’s activities, although including some children’s bands, has progressively
become dominated by a celebration of Fun/Dutty Mas and T-shirts, where paint,
powder, mud and chocolate have proved hugely popular with revellers but not with
large sections of the local and Carnival community.
§ There is a plateauing of participation of children with most bands having no more than
20 children or less in costumes.
§ There is evidence of bands seeking to integrate both styles into their presentation but
to the detriment of children and young people.
§ Children’s Mas must be elevated by celebrating achievements in design, participation
and performance and generating greater subsidies in funding, sponsorship and
expertise.
§ Improvements can be made by embracing good practice by some bands and making
these practices more accessible to all bands.
CVT remains steadfast in its commitment to make Carnival Sunday a genuine platform for
children and young people and will consult all parties on what can be introduced in 2018 to re-
invigorate children’s participation.
CVT supports the delivery of the Cultural Educational Challenge and has developed a Carnival
Education Partnership to bring Carnival organisations together to work within the quality
principles for children and young people and reach the widest number of children and young
people to participate in Carnival. CVT currently leads this Carnival Education Partnership,
using its status as a leading voice in Carnival, to agree and implement programmes on how to
invest in making the Children’s Carnival more accessible to children and young people; to
produce a more consistent and culturally relevant offer from Carnival bands; to broker
agreements on sharing expertise, production spaces and resources; to advise on safeguarding
pg. 16and to champion the promotion of excellence in the quality of Children’s costumes and
performances.
CVT is also committed to embracing the Nurseries Carnival of the Children and Parent’s
Carnival Association (“CAPCA”), which incorporates the junior panorama competition, as part
of the programme of Carnival.
Co-ordination of the arenas to deliver a safer Carnival
CVT is aware of the current link between the Carnival Arts Arenas and LNHCET. That link has
made it very difficult to engage with some Arenas who are loyal to LNHCET and oppose any
change to the current arrangements. However, CVT provides significant funding for two
Arenas, and as such has their support. CVT recognises the challenge of coordinating the
Arenas, but is confident that through direct contact with participating bands and through its
current contacts it will be able to move quickly to a new way of working that will ensure that
the Arenas and their members contribute to the delivery of a safer Carnival.
A consistent presence throughout the year
CVT’s two venues remain open for 355 days of the year with closures only for Christmas. A
consistent and skilled presence is guaranteed during the opening times of the venues and an
unconditional commitment is given that skilled, experienced and fully briefed trustees, staff
and volunteers will be present from the date of award of any funding agreement and certainly
throughout February and March, when a significant amount of work needs to be undertaken.
To provide a detailed debrief statement post Carnival
CVT commits to providing a detailed debrief statement post Carnival. This statement will be
informed by community engagement meetings held before and immediately after Carnival.
We anticipate having a statement prepared and submitted by the end of September 2018,
allowing time for informed consultation to take place.
Provision of stewarding plans
CVT is aware that stewarding is currently contracted out to the MacKenzie Arnold Group. As
with event management, CVT will consider both the strengths and weaknesses of outsourcing
aspects of stewarding as well as developing the capacity to deliver in-house through its own
people. Community volunteering is key in the operational strategy of CVT. It will register with
several agencies working with volunteers, the Mayor of London’s Team London, GLV, NCVO
pg. 17and Volonteurope7 to recruit more volunteers and target local agencies, Job Centres and
community organisations to encourage their members to volunteer.
In addition, CVT will identify good practice in the Carnival community and embrace it by
promoting exemplars, certifying them and supporting bands to implement them into their own
plans. This is similar to what CVT is able to offer Elimu Mas Academy by supporting their
volunteer scheme, Mas Makers to attract volunteers wanting to assist in the planning and
making of costumes and the production of performances.
This programme will be extended – Carnival Champions – to replicate the success of the
Olympic Volunteer Scheme by encouraging more volunteering in Carnival, leading up to and
during the event and targeting volunteers from local communities and deploying them in or
near their areas of residence or with individual performing units.
CVT has the resources in place, as is demonstrated by this bid, to respond to apply in a timely
manner for a grant to cover the cost and management of the stewarding contract.
An understanding of the Movement Strategies report 2016 and 2017 recommendations
and all the actions arising
We have been able to access redacted copies of the Movement Strategies reports. We have
the best understanding possible on the information provided of the recommendations and
actions that need to be taken. We will be seeking unredacted copies of the reports should we
secure a funding agreement.
Review Sound System locations in light of the new licensing policy in RBKC
CVT has a good understanding of the new licensing policy in RBKC and the implications for
numbers gathering at sound systems particularly where they are close together. CVT is
committed to working with the static sound systems and RBKC to review sound system
locations to ensure compliance with licensing regulations, reflect changes agreed from our
various reviews and introduction of new features for 2018, including the reinvigoration of
Children’s Day.
Review stewarding at Sound Systems and of bands
CVT is aware of the RBKC licensing requirements for stewards at sound systems and in
particular the requirement that:
7
https://volonteurope.eu/our-work/
pg. 18§ where anyone at the event is carrying out a security function they shall be licensed by
the Security Industry Authority; and
§ where stewards are being provided, the Police should be satisfied that staff are suitably
trained and experienced in maintaining crowd control at the Carnival, by having agreed
procedures with the Police, in advance.
CVT will work with the static sound systems and RBKC to review stewarding arrangements to
ensure compliance with licensing regulations.
CVT will also review the stewarding of bands as part of its general review of stewarding and
preparation of stewarding plans.
Full review of procession route and access points
CVT will engage with the Strategic Partners, MPS and Carnivalists to undertake a full review of
the procession route and access points with the aim of improving safety, reinvigorating
Children’s Day, improving audience reach and engagement, facilitating suitable performance
spaces for performers and, as far as possible, unclogging the route.
Bands and Route Support
As has been previously mentioned, CVT is committed to ensuring that there are clear lines of
communication and accountability for Carnival. To achieve this, it will:
§ manage the administration of all bands;
§ manage float passes including the co-ordination and provision of information
requested by the police and any timescales stipulated;
§ manage and carry out health and safety briefings to all bands;
§ co-ordinate band liaison -including on the day contact details for contactable person(s),
text messaging and GPS tracking functioning; and
§ document and agree diversion and contingency routes and demonstrate how these
affect Carnival management and local impact on the day.
CVT has the infrastructure to be able to effectively and economically administer this support.
Production support
CVT will provide a base and support for each of the Arenas. If required, it is able to provide
administration support for sound systems, including attending BASS meetings and producing
pg. 19plans for sound systems. CVT will work with each of the Arenas to see how best they can
develop their own capacity to be more effective as a coordinating body.
CVT will review the infrastructure for Carnival and in particular the structures such as the
judging zone and stages on the footprint. These will be signed off by a qualified health and
safety officer appointed by CVT.
CVT will review the on-the-day communications and see how best to provide reliable systems
and devices that assure effective internal and external sharing of information. CVT has already
approached Google to see how it might support with technological expertise.
pg. 20COMMUNITY ENGAGEMENT
CVT has adopted the National Standards for Community Engagement agreed by the Scottish
Government8 as the basis of good practice in engagement for Carnival. A draft Community
Engagement Plan is provided as Appendix G. CVT is committed to formulating any plan with
stakeholders and agreeing such plan with Strategic Partners. As such, it can only at this stage
provide details of its overarching principles and strategy for engagement along with an
indication of the type of engagement processes it will use. If successful with its expression of
interest, CVT would wish to progress immediately to developing a plan for 2018 and having it
published by the end of February 2018.
8
http://www.voicescotland.org.uk
pg. 21DEVELOPMENT AND PARTNERSHIPS
To demonstrate efforts to raise further support in kind and cash for 2018 (excluding the
public agencies) and forward plans explaining how opportunities for 2019 and beyond will
be maximised
We have addressed elsewhere in this document our funding strategy for 2018 and beyond and
our approach to sponsorship.
CVT anticipates that with this new beginning, it will be able to generate interest among
businesses, organisations and partners willing to support the changes being introduced.
Supported by a full-time fundraiser, a special programme of commercial and public
engagement will be developed to maximise and build on this initial interest.
We envisage that some key features will include:
§ A promotion in 2018 – London is the Place for me – marking the 70th anniversary of the
docking of the Empire Windrush and celebrating London as the Global City that stages
THE Carnival.
§ Celebrities and local businesses signing up/Special T-shirts to support Carnival – I am
Supporting Carnival.
§ Encouraging local artists to decorate and brand the route with their unique creations.
§ Funding/Charitable support to subsidise the participation of children and young persons
§ Support in kind for each novel feature being introduced in 2018, e.g. certified private
toilet sites/vehicle tracking devices or to target key responsibilities e.g. pro bono
specialist and technical advice and guidance.
pg. 22CONCLUSIONS
CVT fully embraces three aspirational goals for the Carnival:
§ developing a sustainable model;
§ creating an artistic framework; and
§ devising operational plans.
These goals are underpinned by a vision to make the Carnival:
§ a safe, secure and enjoyable festival;
§ less dependent on public funding;
§ professionally and efficiently managed;
§ an exemplary street arts event; and
§ a showcase of artistic excellence in Carnival Arts.
If CVT secures a funding agreement to manage the Carnival, plans with goals, indicators,
timelines and actions will be drafted to achieve these aspirations and vision. These plans will be
refined through a robust, timely and inclusive engagement with all interested parties and
relevant agencies.
CVT does not underestimate the challenges it will face in initiating the changes necessary to
achieve these goals and vision but remains confident that they can be realised and buy-in can
be achieved from a majority of stakeholders and participants.
In preparing this bid, CVT consulted a range of voices; some opposing, others sceptical and
quite a few supportive and excited by what is possible.
CVT believes that no one is better placed to deliver this very challenging agenda, produce a
successful event that will change the public perception of the event and nurture more positive
responses from residents and local agencies.
Ian Comfort
Chair
Carnival Village Trust
18 January 2018
pg. 23APPENDIX A: DIRECTORS/TRUSTEES
Ian Comfort (Chair) (CVT/TW11)
Ian has extensive experience of working as a chief officer for local authorities and academy
trusts including a number of years as Director of Community Education for the Royal Borough
of Kensington & Chelsea. In his role as Group Chief Executive of a large academy trust he was
responsible, as a Government Accounting Officer, for an annual turnover of £300 million. In
addition to his career in education, Ian is a barrister and currently chairs a number of regulatory
tribunals. Ian has been involved in Carnival since 1980 and in addition to chairing the Carnival
Village Trust, he has been chair of the Ebony Steelband Trust since 2003. His other board roles
include executive chair of Cognus Ltd, an education services company and trustee and vice-
chair of the Middlesex Learning Partnership.
Imani Douglas-Walker (CVT)
Recognising the importance of stronger resilient communities, Imani’s NED experience spans
across housing, philanthropy, social regeneration, people and diversity and community
engagement. Chair of a £3.8m philanthropic foundation, Genesis Community, Imani oversees
the strategic remit to disperse grants within communities investing in organisations and
individuals to develop capacity building skills to reduce poverty and increase entrepreneurial
and employment opportunities for sustainable resilient communities and neighbours. Working
as a freelancer, Imani has worked supporting hard to reach marginalised groups either
educationally, socially and economically to rebuild their lives and advance within adverse
times.
Alan Edwards (CVT/TW11)
Alan is a partner in Russell-Cooke LLP (a top 100 legal firm). Until 1 September 2015 he was the
founding and senior partner of Alan Edwards & Co until his firm merged with Russell
Cooke. Alan is a director of Mangrove Community Y2K Ltd which is the company under which
the Mangrove Steel Band operates. Alan chaired the Project Board which oversaw the
successful development of the Yaa Centre as part of Carnival Village, which was delivered on
budget and on time. Until December 2017, Alan had been a trustee of the Paddington
Development Trust for many years and remains its legal adviser. Alan has been a board
member of Kensington and Chelsea College ending his appointment in 2012 in the capacity of
vice-chair. Alan sat on the Project Board which steered through the development and
completion of the new Kensington and Chelsea College building in Hortensia Street. He was
also one of the founding trustees of Action for Victims of Medical Accidents.
pg. 24Mary Genis (CVT)
Mary has an impressive record of achievements and pioneering work in the arts that will enrich
and widen the governance of the Carnival. She coordinated the One World Stage at WOMAD
Reading for seven years from 1997 to 2003 and worked as the UK Cultural Olympiad Launch
Co-ordinator. Mary’s other non-executive roles include previous roles as a board member for
South Hill Park Arts Centre and Readipop music projects and current roles as a governor for
Theale Primary CE School, chair of black mentoring charity Reading Refocus, trustee for the
Jelly art group and a member of the Consortium Programme Board for the Museums
Partnership Reading (ACE NPO). In 2017, she was awarded a Hall of Fame Lifetime
Achievement Award from the British Association of Steelbands.
Tara Hobson (CVT staff)
Tara is the senior member of staff (Director) of CVT. She has over 20 years of global venue and
event management experience working on large scale events such as British Summertime in
Hyde Park, Wireless Festival and 8 years as an Event Manager at Earls Court. Tara also held the
post of Filming & Events Manager at RBKC in 2012 with the focus of that position on the
operational responsibilities of RBKC to facilitate Notting Hill Carnival. She has built strong and
effective working relationships with key stakeholders such as Arts Council England,
government agencies, Carnival bands and local authorities. Tara is qualified in health and
safety management and holds the National Examination Board qualification in Occupational
Safety and Health (NEBOSH).
Vincent John (CVT)
Vincent John is the Director of Procurement & Business Services at the University of Greenwich
overseeing an annual budget of £35 million and the lead for the Procurement Shared Services
network for the University of Greenwich, Trinity Laban University, Royal Borough of
Greenwich, Greenwich Foundation for the Royal Naval College, Royal Parks and Royal
Museums Greenwich. He is active in the third sector as director and trustee of several
community organisations including Carnival-related posts as chairman, the Association of
Calypsonians UK Ltd and trustee of Carnival Arts & Masquerade Foundation (CAMF).
Matthew Phillip (TW11 staff)
Matthew is the senior member of staff (Director) for Tabernacle TW11 He has a well-deserved
reputation in the Carnival community as the inheritor of his father’s iconic mantle, an
accomplished musician and a respected pioneer and leader in the development of Carnival in
its myriad features and forms – artistic and operational. Significantly, he has brokered solid
inter-generational relations among Carnivalists and practitioners and can build on this to drive
the development of Carnival 2018 to greater and more inclusive heights.His notable successes
include his development skills in attracting corporate and blue chip companies into Carnival
pg. 25(Red Bull, Bloomberg News, One Tel); facilitating performances by the best of Carnival Arts
(The Mighty Sparrow, David Rudder , Ella Andel, Andy Narell); promoting the art of pan in
Glasgow, Mauritius and Reading and steering the development of Mangrove Steel Band to
several musical accolades. His managerial skills are best exemplified by his success in
increasing the profitability of the Tabernacle and making the venue a place of first choice for
the local and Carnival communities.
Peter Richnell (TW11)
Peter owned and ran two very busy London gastropubs - The Havelock Tavern in W14 and The
Earl Spencer in SW18 between 1996 and 2012 garnering great reviews and accolades with The
Earl Spencer being awarded the Evening Standard Pub of The Year in 2004. Both pubs had
turnovers just in excess of £1m annually at their peak and so required considerably more
staffing and logistical management than the average. His hands-on style allowed him to be on
top of the day to day running and created great loyalty from his staff. In an industry where it is
largely unusual to see the same faces serving in the bar/restaurant and cooking in the kitchen
from one years end to the next, this is noteworthy. He became adept at handling short-term,
unexpected problems such as staffing issues when people were unable to work and key
equipment failure. He also cultivated cordial relations with his suppliers of both goods and
services who in turn could be relied on to help the smooth running of the businesses with
prompt repairs to equipment and additional unscheduled deliveries. Needless to say, good
customer relations were also of paramount importance.
Ansel Wong (CVT/TW11)
Ansel’s wide-ranging career has given him experience of working at the most senior levels
through public and charitable sectors, including public appointments and senior management
positions: Principal Race Relations Advisor to the GLC, chair of the Brent and Harrow Health
Authority, Community Assessor to the Metropolitan Police Service, Deputy Education Officer
of the London Borough of Lambeth and Company Secretary for Savile Row Academy. He has
written and lectured widely on Carnival plus serving on several organisations involved in
Carnival: band leader since 1980, mentor to over 10 Carnival bands, chair of the Notting Hill
Carnival Trust & Interim Executive Committee member of ROC.
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