The Leeds carnival has retained a distinctive West Indian flavour. Whilst other carnivals have adopted a multicultural approach, Leeds chose to focus on traditional Caribbean carnival culture. The carnival organisers have been determined to nurture mas bands (the masquerade bands that make up the colourful procession), West Indian designers and steel pan musicians. The sound systems associated with carnivals such as Notting Hill are pushed to the periphery at Leeds, the focus being on Soca Sounds and steel pan – the traditional music of Caribbean carnival.
The peaceful development of the carnival and its strong connections with black communities in northern England help explain its adoption by the city of Leeds.
Changes to the route of the procession act as a barometer of the Caribbean community’s level of integration. In its early years, the carnival procession went through the city centre.
The procession raised the profile of the black community who mainly lived in the Chapeltown area of Leeds. From 1983, the procession avoided the city centre, travelling around the Harehills and Chapeltown areas. An invitation from the council, in 2002, saw the procession return to the city centre, confirming the Caribbean community’s acceptance into mainstream Leeds. Carnival has helped deliver the Caribbean community from the city’s margins to centre stage.
Print this page
