Sunshine International Arts

Notting Hill Carnival — the untold story ISHMAHIL BLAGROVE JR
2020-08-08 12:00 - 17:00 UTC | CAFE, STUDIO 5 209A, COLDHABOUR LANE, LONDON, SW9 8RU, United Kingdom

Avion Mookram “I remember Carnival Monday/Tuesday February 1954”
2020-08-09 08:00 - 17:00
What an interesting story from St Vincent Street San Fernando (South Trinidad) to leading one of Notting Hill Carnival major band – South Connections
Avion has been part of my life from the first time I came to London to now at S.i.A -Ray
Avion Mookram
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#NHCpioneer #CaribbeanHistory #carnivalHstory

Alwin Chow Lin On,
2020-08-09 08:00 - 17:00
Alwin Chow Lin On, ‘Chow’ to all who knew him in the UK, 30 April 1935 – 29 July 2011
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“At this time I had the opportunity to work with Alwin Chow Lin On(who was instrumental in a lot of Minshall large costume) We called him- Chowie. I got very involved in larger costume designs the way he worked and drew his structured and calculated was a dream it took me back to my Architecture school days”.Ray
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#NHCpioneer #CaribbeanHistory #carnivalHstory

2000 Canboulay, out of the fire comes ?
2020-08-09 08:00 - 22:00
#siasummer20nhc 2000 Canboulay, out of the fire comes, DANCE OF THE CLOTH.
Created for South Connection Carnival Club the bands Notting Hill carnival production entitled-Ray Allan Mahabi
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#NHCpioneer #CaribbeanHistory #carnivalHstory

From October 2020 -Creative Spaces For Hire at C.A.F.E.
2020-08-10 08:00 - 17:00
Part of our mission as a creative space firmly rooted in the heart of the community is to offer a venue to meet the needs of our locals, creatives and general public. Studio 3 , Studio 4 and our Main Arch are available for hire for a number of activities
Spaces for hire

Mahogany Arts- a group of multi-disciplinary artist. #NHCpioneer #siasummer20nhc
2020-08-10 13:00 - 17:00
Another band and true carnival artist are Clary and Speedy from Mahogany mas band they are also a regular band that S.i.A works with on national and international projects…
‘My first memory is of winning a carnival competition in a gorgeous little fairy costume,’ Clary recalls. ‘I still have the cup from it.’ Speedy’s parents, on the other hand, were bitterly opposed to carnival. ‘My father was a local politician and he disapproved. I was always sneaking out to play mas. One time, I ended up making 400 costumes overnight. That’s how I got my nickname.’

THE BLACK ART OF MAKING MAS Welcome to Glorious Backstage Arts
2020-08-11 08:00 - 17:00
Welcome to Glorious Backstage Arts
Providing opportunities to develop experience in: theatrical costume design and construction; dance and theatrical presentation; arts and event management.
https://m.youtube.com/watch?feature=youtu.be&v=ANzXZ9P900E

Flamingo Carnival Arts was founded in 1983.#siasummer20nhc #siafamilymystory #NHCpioneer
2020-08-11 12:00 - 17:00
Flamingo mas band was the first band S.i.A collaborated with for NHC ,we performed alone side the band for four years alongside NHC before taking to the road on our own as S.i.A – Martha was always welcoming and accommodating at a band leader
Flamingo Carnival Arts was founded in 1983, in common with many small groups, The organisation which is Flamingo began in someones front room. Martha Fevrier

Nelson Island and Indian Indentureship in Trinidad. My Roots and My culture.
2020-08-12 08:00 - 17:00
SUNSHINE INTERNATIONAL ARTS. Carnival and Community Arts
Drawing on his Indo Caribbean roots, Ray Mahabir has used his experience gained by working with the masquerade tradition of Trinidad Carnival as inspiration for his designs for costumes used in processional art. #siasummer20nhc
http://www.natt.gov.tt/sites/default/files/pdfs/Nelson-Island-and-Indian-Indentureship-in-Trinidad_02.pdf

THE EXPERIENCE OF INDIAN INDENTURE IN TRINIDAD: ARRIVAL AND SETTLEMENT
2020-08-12 13:00 - 17:00
THE EXPERIENCE OF INDIAN INDENTURE IN TRINIDAD: ARRIVAL AND SETTLEMENT #siasummer20nhc
Between 1845 and 1917 a total of 143,939 Indians migrated to Trinidad under the system of Indian indenture. Most of these indentured labourers were drawn from the agricultural and laboring classes of the Uttar Pradesh and Bihar regions of north India, with a comparatively smaller number being recruited from Bengal and various areas in south India. Approximately 85% of the immigrants were Hindus, and 14% Muslims.
http://www.caribbean-atlas.com/en/themes/waves-of-colonization-and-control-in-the-caribbean/waves-of-colonization/the-experience-of-indian-indenture-in-trinidad-arrival-and-settlement.html

Ray the story part 2 #siasummer20nhc
2020-08-13 08:00 - 17:00
“As a carnival designer what is important about what you are creating is knowing the true meaning of masquerade (Mas) and how wearable art works. Mas is a unique and important art form that allows any individual to become a performer – this often shows when someone is wearing your creation and they are able to glow and shine as a true star!” Ray Mahabir

The Making of Ma Ma La Terre performed by Avion Mookram 2000 #siasummer20nhc
2020-08-13 13:00 - 17:00
This post will showcase the cross section of artist who are involved in the creation of large scale carnival costume and the hard worked and passionate that goes into each costume. Ma Ma La Terre
This piece was showcased at the Victoria and Albert Museum exhibition Carnival in Close-up , From the Caribbean to Britain and beyond October- November 2000.

MULANA ‘the art of people’ 2001-2020 #siasummer20nhc
2020-08-14 08:00 - 17:00
MULANA ‘the art of people’ 2001-2020 #siasummer20nhc Click Here
“During part of this trip to India I visited the village my forefathers come from in India – I am five generation Indian, my family came from a village called Sidhownay village, Bikhapur, Fyzabad, which is nearest city to Lucknow and is the capital city of the Indian state of Uttar Pradesh.
On my return to the UK I developed Sunshine International Arts (S.i.A), a UK based arts charity. After coming to the UK to live I found what I call my “new village” – Loughborough Junction, Brixton, London – the home of Sunshine International Arts.

In memory of the Jahagis
2020-08-14 08:00 - 23:30
A video presentation outlining the arrival of East Indian Indentured labourers to Trinidad during the period 1845 to 1917. This presentation was done for Indian Arrival Day celebrations at St Augustine South Government Primary School (SASGPS). The background music is in Hindi and is based on Psalms 91: “He that dwelleth in the secret place of the most High shall abide under the shadow of the Almighty. I will say of the LORD, He is my refuge and my fortress: my God; in him will I trust.” I think the person singing is Anil Kant.

About Liverpool International Carnival 2016
2020-08-14 14:00 - 17:00
Ray Mahabir talks about Brouhaha and about Liverpool International Carnival 2016.

International Slavery Museum, Sailor Mas costume 2007 #siasummer20nhc
2020-08-15 08:00 - 17:00
International Slavery Museum, Art Commission Brief – Sailor Mas costume 2007
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Concept for the Sailor Mas costume (Fancy Sailor) Ray Mahabir- February 2007 Perhaps the most visual manifestation of cultural transformation is Carnival – a complex merging of European religious festivities within Latin America with elements of African festival. Trinidad is the cradle of carnival but the festival has been transported across the Caribbean, North and South America and to Europe.
Notting Hill Carnival in London, established by Claudia Jones, is the main carnival in Britain, celebrated by black and white. Other carnivals take place in cities across the country. Click Here

Neil Macey from ‘De hill’ to Hackney #siasummer20nhc
2020-08-15 12:00 - 17:00
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“All the youth in the neighbourhood used to play mas with that band so it was like one big family. In my neighbourhood there were lots of steel bands. We had Tokyo, Fascinators, Hill 60, and City Symphony” Neil Macey
Photo Neils dad in Sailor mas Click Here

Minshall... A Ship of Fools 2003
2020-08-15 14:30 - 17:00
Minshall A Ship of Fools 2003
Peter Minshall’s 2003 Carnival presentation, “A Ship of Fools”, has tremendous creative material to choose from the present goings-on in this so-called independent republic with all the brouhaha about the apparent newspaper exposure of a secret Muslim sect with a “lab” of supposed biological and chemical weapons of war, ready to attack American and British capital investments here as well as all their personnel and private property, if Muslims are provoked by an attack on Iraq.
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La Bel- Commission for the British Liberty exhibition 2015. #siasummer20nhc
2020-08-16 08:00 - 17:00
The Bele Costume-By Ray Mahabir – Commission for the British Liberty exhibition
A journey through time, the Bele Costume by Ray Mahabir is indicative of Caribbean history, struggle, freedom and celebration. The costume relates the cross-cultural rags-to-riches story of Carnival and inspires mental imagery of the Bel Air dance, culture and folklore through the ages.
Carnival costume designed by Ray Mahabir of Sunshine International Arts in 2015, based on Bele or Bel Air, a drum dance and song closely linked to Caribbean history, struggle, freedom and celebration. On display in West Africa: Word, Symbol, Song,
photographed by Toby Keane Click Here

Reach the Unreachable Kenya 2019 -
2020-08-16 12:00 - 17:00
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Reach the Unreachable Kenya 2019 –
As the Artistic Director of S.i.A, my main focus so far has been within Britain, as well as some international projects. I have spent the past 23 years taking carnival arts to new audiences national and international, but one piece of the puzzle was missing. In 2018 I decided it was time to re-visit Caribbean carnival in it’s birthland – Trinidad and Tobago – but I could not ignore the roots and history it has in Africa (as well as Europe).
These three areas of the world make up what is known as the ‘Transatlantic Triangular Trade Route’. My idea was to reverse this route and educate the three continents in the Art of Carnival. Click Here

Sunshine's NHC 2020 Statement
2020-08-17 08:00 - 17:00
Sunshine’s NHC 2020 Statement

Following the news that Notting Hill Carnival 2020 has been officially cancelled, we wanted to take the opportunity to get in touch and tell you about our plans.
First, a word from S.i.A’s Director, Ray Mahabir:
“Notting Hill Carnival is a time to rejoice and celebrate. After 23 years of involvement as a family-oriented Mas Band leader, I am saddened that my members are unable to experience this annual festivity. More than this, for most of my members this is the one time of the year that they can come together to celebrate the cultural roots of their forefathers, and the heritage that they belong to.

I feel for my members, as the carnival we create is down to each person’s love and passion for the artform. But we can all agree that lives come first. S.i.A must take into consideration the well-being of our members and their loved ones.

With this I know that the true meaning of community and carnival culture will live on and will ALWAYS be there!
See you all on the road in 2021
…aH sea of …HopE… LOVE…LIFE…de silver lining…”

Ray Mahabir – Sunshine International Arts

Beeraahaar Sweet Combination #NHCpioneer #siasummer20nhc
2020-08-17 13:00 - 17:00
David and Christina is always fun to be involved with we have work alone side them for many years and lots of projects.
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Hackney carnival pioneers David Grant and Christina Oree, 83 and 79, are still going strong.”The idea was to develop a spirit of unity between all different ages, cultures and backgrounds, and the youngsters chose the name “sweet combination” to signify the different nationalities in their band.”
Another good read -Band Leader – Christina Oree & David Grant

Freedom – Family – Fun! What does Carnival mean to you?#siasummer20nhc #siafamilymystory
2020-08-18 08:00 - 17:00
Carnival is an explosive array of colour. Ornate, extravagant, ‘Mas’ (costumes) stimulate the visual senses and community comes together as one. Cutting through the loud Soca soundsystems is the individual’s voice of what Carnival means to them. We asked some of our participants what they love about carnival:Carnival

Dr. Claire Holder - Future of the Notting Hill Carnival
2020-08-18 12:00 - 17:00
Dr. Claire Holder was the longest serving Director of the Notting Hill Carnival. She is now reentering the Carnival arena to present and pursue a strategic vision for the rejuvenation of the event. Here she explains her early involvement with the Carnival, why it is so important to the African and Caribbean community of Britain and her proposal to construct a ‘Council of Elders’ to advice and support the management of the event.
Dr. Claire Holder – Future of the Notting Hill Carnival

What a normal summer looks like for S.i.A #siafamilymystory
2020-08-19 08:00 - 17:00
What a normal summer looks like for S.i.A
What S.i.A has been up to over the last 6 months… Click here

Master of the mas...Jonathan Ali
2020-08-20 08:00 - 17:00
Master of the mas
Will Peter Minshall produce another Carnival band? Since his last outing some four years ago, Trinidad and Tobago’s leading living masman has shown no signs of rejoining the decreasingly creative fray. As he nears his seventieth birthday, the speculation that we may have seen the last of Minshall increases, though many no doubt still hold out hope that he will return, if only for a las’ lap.

The history of paradise: on Peter Minshall’s Paradise Lost
2020-08-20 12:00 - 17:00
The history of paradise: on Peter Minshall’s Paradise Lost
It’s the stuff of Carnival legend: the eruption of masman Peter Minshall’s Paradise Lost on the streets of Port of Spain, forty years ago. Now a new documentary, using long-forgotten archival footage, brings the band back to life. Ray Funk tells the story
© MEP Publishers | The history of paradise: on Peter Minshall’s Paradise Lost | Caribbean Beat Magazine https://www.caribbean-beat.com/issue-137/peter-minshall-paradise-lost#ixzz6TIQQD1TX

How did I become a carnivalist? - Celia Burgess Macey
2020-08-21 08:00 - 17:00
How did I become a carnivalist? – Celia Burgess Macey
This is quite a long story . My first exposure to the culture of carnival and of Trinidad in particular was in 1964
#siasummer20nhc#siafamilymystory Click Here
From the band -Dance of Jouvert… de People, of this Earth – S.i.A 2018 Photo by Donna Travis

1983. Meeting the Midnight Robber Celia Burgess Macey
2020-08-21 14:00 - 17:00
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1983. Meeting the Midnight Robber Celia Burgess Macey
It was carnival time. Whilst I was walking up Frederick Street I was accosted by an old man and two children all dressed in Robber costumes. He looked me straight in the eyes, displaying a knowing twinkle, and held me at gunpoint while he recited a long dramatic speech. I was quite astonished and Neil who was laughing told me I must pay him a
dollar otherwise he would continue.
So I did this and then turned to the children and asked them if they were going to challenge me too. To my delight they immediately performed their speeches and also got a dollar. And that was my first meeting with a Midnight Robber.(3 in fact)
Of course we went to see the street parade on Carnival Tuesday. Peter Minshall’s band were particularly impressive, there was a costume shaped like an atomic bomb and lots of very dramatic and scary costumes. The most dramatic of all were the Moko Jumbies, who were all dressed in black with long flowing sleeves. As a large group of them advanced down the road and across the Savannah towards the carnival stage, the hairs
literally stood up on the back of my neck. I was hooked. This was more than fun. This was passion and spirit. This was life and death.
The Midnight Robber
The Midnight Robber is a complex character whom I have encountered in a variety of settings. I have also read about the character in the National library in Trinidad and in a variety of scholarly articles. I have seen the large Robber like hats in the African section at the British Museum. I have seen the Robber costume in the Horniman Museum. I have seen similar characters in the carnival in Cuba, but always slightly different.
I have described my first meeting in the streets of Port-of-Spain and have since listened to many Robber speeches delivered in the competition which is held each year in Port of Spain. Brian Honore always particularly impressed me and I noticed that he included political aspects in his speech. I also noticed that very few women played this character, but they did exist. When I was working in St Ursula’s girls primary school during one of my educational exchange projects, the girls played this character enthusiastically along with other traditional characters like Damme Lorraine and Devil. So what is it in this character that particularly attracts me personally?
Firstly I respect the complexity of the character. The Robber is complex-a syncretic mix of cultural forms. Part African masquerade, part European Catholic Lenten carnival’s Grim Reaper and ubiquitous deathsheads, part Mexican day of the dead and part cowboy hero. Is he hero or anti hero. I am never quite sure.
Secondly I see the Robber as deeply connected to the oral tradition, which contains many layers of meaning but is undervalued in mainstream culture. His speeches surely resonate with the poetry of the African griots, with the boastful and declamatory speech of superheroes, giants and monstrous spirits. He sounds like Amos Tutuolas ghosts. He sounds like Beowulf. He sounds like a character from Shakespeare. My mother who had been Shakespearean actress used to recite Shakespeare to me from a very young age. The Midnight Robber is larger than life. He is scary like the monsters we were scared of in the stories and folk traditions we imbibed as children.
Thirdly he is impressive. He makes his physical presence felt in his swagger. He commands attention with his whistle. His long and wide cloak take up space and clear the way. His large hat takes up space and makes a statement. His costume has the deaths heads and skeletons of the mediaeval imagination, he reminds us of the inevitability of death. He threatens us with his gun as well as with his speech. He challenges us to pay attention. I can relate to that Challenge. I am not afraid to take up space.
My father worked in a felt Hat factory. His job was to test the hats for weatherproofing and the stability of the dyes. He used to bring all kinds of hats home and many of them ended up in our dressing up box. A large black Mexican cowboy hat was the particular favourite of mine. When I was a young and flamboyant student in the 1960s I used to wear this hat accompanied by tightfitting black velvet trousers from Carnaby street and leather boots. I also had a cape. I was anticipating the Midnight Robber.
Lastly I love the speeches. The poetry of the English language-the language of the Bible, of Chaucer, of Milton and of Shakespeare. I studied that language in my English degree. The playing with impressive vocabularly and the creating of atmosphere-conjuring fear and awe from words. Creating an argument. We have sadly lost the art of declamatory and oratorical speeches. The oratory I grew up with in church and in politics. So I try in my speeches to capture something of the power of words. I try to use those words to describe cataclysmic events, the beginning and end of worlds. I try to use the speech to accuse people in power and to speak truth clothed in metaphor. It is not hard to learn the speech by heart, but it is hard to recall it under the pressure of performance in front of the carnival judges!.
In Yaa I also played Pierrot Grenade on two occasions. This is another character who plays with language and adopts a scholarly posture and attitude which suited my teacher identity. However I had no opportunity to perform any Pierrot speech.
Neil joined this band and in 2002 he and I played a Fancy Sailor for the theme Tru de Eye and in 2003 he played Sailor while I played a Midnight Robber. Whilst I love playing mas in the band with Neil chippin down the road together, it was more difficult to stay in character when his presence constantly reminded me of my real life self!
My membership of Yaa Asantewaa Carnival band came to an end when they decided that they would only bring out a youth section band not an adult band. Since I was not a youth that excluded me. I retain great affection for that band but I needed somewhere to play mas.
Sunshine International Arts
The band’s artistic practice is grounded in the traditions of Caribbean Carnival, including the traditional characters that I so love. I was delighted when Ray suggested that I could play Midnight Robber. I was even more delighted when he agreed that I could write my own speech. It is in this band that I have been able to grow into my character, whether Pierrot Grenade or Midnight Robber, because Ray has given me the artistic freedom to do so. I enjoy my day on the road and the reaction of the crowds and the scared faces of children shrinking behind their adults.
Written by Celia Burgess Macey 26th of May 2020 Click Here

The stories: The people: look our for S.i.A Family telling their stories #siafamilymystory
2020-08-22 08:00 - 17:00
#comingsoon #siasummer20nhc#siafamilymystory
