CAMF was founded in October 2011 as the new face of two previous membership bodies, in order to provide better support both to our members, and to the development of the wider Carnival sector. ‘We want to create a strong platform for Carnival and Carnival Arts particularly Mas that is strong enough to ensure the survival and continued prosperity into the future ‘Carnival Arts for the 21st century’’. CAMF’s vision is simple: • We want to create a strong platform for Carnival and Carnival Arts particularly Mas that will ensure Carnival’s survival and continued prosperity into the future. • We want to continue to promote the understanding of the history and heritage of Carnival, particularly in Notting Hill, and its contribution to London’s cultural landscape. In response to these concerns and in support of our vision, CAMF produces programmes in three key areas: • Providing logistical and development support to Notting Hill’s mas bands • Designing and delivering heritage programmes to celebrate Notting Hill Carnival and to ensure future generations understand its history and significance. • Advocating on behalf of our members and the carnival sector, to support the continued strength and development of the carnival artform.

The Board

Vincent JohnVincent John angelaAngela Duncan-Thompson Pic 7 Daron GonzalesDaron Gonzales
 Pic 6 - Mike ForbesMike Forbes  babaraBarbara Nyrako  cathrineCatherine Rock
 Pic 6 - Mike ForbesOnike Joseph Adunni Adams         Tylon Mckenzie


Fred_ButlerFred Butler

NEXT MEMBERS MEETING: Tuesday 13th Feb 18 


Carnival as we know it today began in the late 18th century. When the French arrived in Trinidad they introduced the European festivities of Carnivale, or "farewell to the flesh," to mark the beginning of Lent. As their masters celebrated pre-Lent festivities, the West African slaves shipped to the Caribbean were allowed to carry out their own traditions of storytelling, drumming and dance. Similarly, as in Trinidad, carnival festivities in Brazil date back to the 18th century. Portuguese settlers in Brazil allowed the African community to join in the celebrations; this participation grew after the abolition of slavery. After the abolition of slavery in the early 19th century, Carnival celebrations in Latin American and the Caribbean developed to mark the new found freedom, This was the birth of the African-Caribbean carnival arts that we know today, which continued to grow during the 20th century. Brazil date back to the 18th century. Portuguese settlers in Brazil allowed the African community to join in the population. Caribana in Toronto, Labour Day in New York, Notting Hill Carnival in London and carnivals in Leicester, Nottingham, Reading and Manchester were all inspired by the Trinidad Carnival. Carnival & Black Culture Carnivals, particularly Notting Hill carnival, are one of only a few events that showcase African and Caribbean culture to wide audiences and provide a forum for those from BME backgrounds to explore their creativity. Carnivals also provide an important link to the history of black communities in the UK and represent a hugely. Carnival & Community Engagement Community participation is a hugely significant part of Carnival arts - from its conception to the final performance. Many carnival bands involve the community in the artistic development of events, such as making costumes. Indeed, none of the UK's carnivals could take place without the committed support of numerous volunteers.


CAMF’S Launch Of The Bands 

The following bands will launching on the night

X'treme St Lucia

Rock Royalty


Mas Africa

Utopia Mas UK


More TBC 

You will have chance to register with a band on the night. 

Tickets £5



The London Notting Hill Carnival (LNHC) is Europe’s largest street parade and celebration of the Carnival Arts, however over many years it has also become a popular political and cultural football, providing mainstream media with the opportunity to either intentionally or inadvertently misrepresent facts to the public, authorities and organisations in order to garner support for virtually any agenda.

LNHC is growing both in popularity and participation but instead of acknowledging this growth as the success that it is, the mainstream media indulges in the ongoing sport of ‘Carnival Bashing’. The mainstream media ignores the decrease in crime and disorder by a third (2016-2017, Metropolitan Police UK), the increase of artistic and cultural participation by more than 20% and the positive international reputation as the ‘safest large scale Caribbean style Carnival in the world’.

The attached Evening Standard article refers to critical reports in an abstract way without contextualising that these are the outcomes of annual scrutiny, designed specifically to bring about year-on-year improvement. CAMF (Carnival Arts & Masquerade Foundation ) alongside LNHCET (London Notting Hill Carnival Enterprise Trust) and external stakeholders utilise these reports to address each issue with safety and security being our top priority . During this process CAMF will not be misrepresented by any organisations that are not in possession of the facts.

RBKC Royal Borough of Kensington & Chelsea) were very much aware of the enforced contracting of LSE (London Street Events) as part of the registration process for 2017 and LSE’s involvement was as a result of the MOPAC (Mayors Office for Policing & Crime) review in conjunction with other scrutiny documents. Within The Evening Standard article, RBKC fail to discuss LSE's inexperience in delivering and managing large-scale events, which caused a number of issues, negatively impacting the Carnival. LSE had poor record keeping, refused to engage with the LNHCET Board and failed to meet their objectives. During a pre-Carnival meeting with concerned CAMF members, LSE assured us that their uncooperative and aggressive communications would cease. They did not. In addition to their own technical problems, LSE caused significant difficulties with the driver registration process. Quite simply, they failed to deliver and during Carnival abandoned their role with no explanation and subsequently no compensation for the participants negatively affected by their negligence.

Public and participant safety is of critical importance to CAMF who operate in compliance with Metropolitan Police Service (MPS), operational route management teams and McKenzie Arnold Security (Stewarding Company). CAMF regard public safety as the remit of ALL Carnival entities, therefore the statement from MPS Commander Musker “Public safety is the responsibility of the organisers not the police” is both disconcerting and an astonishing abdication of responsibility, which ignores the fact that the ever shrinking foot space for spectators, due to Police enforced road closures, is one of the key causes of crowd management dysfunction and problems, an issue for which the MPS has also sought to absolve their responsibility.

Ticketing LNHC will not decrease numbers nor increase space to accommodate the spectators and this is not a practice that is in the spirit of LNHC origins. The suggestion that LNHC should be run similarly to Pride is an insulting attempt to ignore the specific history and expression of work undertaken by United Carnivalists and the community.

The ongoing campaign to remove LNHC from the care of Carnivalists has been deliberate and successful over the course of the last 2 years in particular. This campaign has given rise to organisations attempting to liquidate LNHC and disband LNHCET (a strategy which has been successful with other Carnival organisers in the past). It represents a greed driven desire for profit. CAMF regard this as an unmitigated attack on our artistic culture from both misguided internal Carnivalists and from individuals who do not value or understand the social, cultural and historical contributions of LNHC or Carnival generally.

In reply to the article (see:…/notting-hill-carnival-must-bec…)


Trustees of CAMF 20/12/17


Abir Colours Of Life
Antilles Mas Band formerly Saga Boys Carnival Club
Bajan Revellers UK
Beerahaar Sweet Combination
Bigga Fish Ltd
Burrokeets UK Carnival Band
Calabash Carnival Club
Candy Mas UK
Caribbean Sessions Mas
Chocolate Nation Mas
Cocoyea Carnival Club
CSI Steelband Trust
D Riddim Tribe
De Core Ltd
Dimensions Entertainment
Dragons Cultural Arts
DUKA Mas Dominic UK Carnival Band
Dynamic Mas formerly Feelin Fah Fete
Elimu Paddington Arts
Euphoria Carnival Limited
Fete Domnik UK formerly Westside 24K
Flagz Mas Band
Flamboyan International Carnival Arts
Flamingo Carnival Arts Ltd
Funatik Mas Band
Fusion Community Carnival Arts
Gemz Mas
Glorious Backstage Arts
Heritage Social Arts & Dance Group
Hype Mas UK
Iconic Mas
Image Mas Band
Inspiration Arts & Trinbago Carnival Club
Island Mas
Island Vibez
Jamaican Twist Carnival Group
Jamboulay Carnival Arts Promotion
K & C Schools Carnival Band
Kuumba Carnival Club
La Trinity Carnival Club
London School of Samba
Mahogany Carnival Club
Majestic Grenada Shortknee UK
Majestic Mas Movement
MaKING Carnival formerly Isis Mas Band
Masquerade 2000 Carnival Band
Mas Africa formerly GoldStars Vision
New Age African Art & Design Parade
People's World Carnival Band
Pure Lime UK Ltd
Revelations formerly StarDust UK
Smokey Joe Roadshow
Soca Massive & Zoomer D Fancy Sailor
South Connections
Sunshine International Arts
The Bride Outreach
Trini Posse UK
TT Mudders Mas Band
Tropical Isles
Tropical Mas formerly Dskii Carnival Club
United Colours of Mas
Urban Touch Carnival Group
Utopia Mas Band
Vision Mas
Vincy Alliance
Voice of Mauritius
Xtreme St Lucia UK
Yaa Asantewaa Carnival Band


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