Toronto Caribbean Carnival 2024

Location: Toronto Caribbean Carnival, Grande Parade, Toronto, Ontario, Canada, Year: 2024, Photographer: Ajani Charles

The Toronto Caribbean Carnival, one of the largest cultural festivals in North America, stands as a vibrant celebration of Caribbean culture, music, and heritage.

Established in 1967 as Caribana, the festival was created by Toronto’s Caribbean community to honour Canada’s centennial while showcasing the richness and diversity of their traditions.

Over the decades, the carnival has grown into an iconic event, consistently attracting over a million attendees annually and generating significant economic and cultural benefits for Toronto, Ontario, and Canada as a whole.

Despite its undeniable contributions, the carnival’s journey has been fraught with challenges, underscoring the need for sustained support and recognition from all levels of government.

The Toronto Caribbean Carnival’s economic impact cannot be minimized.

According to the Government of Canada, the festival attracts over 1.2 million attendees annually, including over 180,000 tourists, injecting an estimated $338 million into the Ontario economy, if not far more.

A 2011 report from the City of Toronto highlighted that the economic impact was strongest on the food and beverage sector, with over $109 million spent by festival attendees at bars and restaurants.

These figures demonstrate the festival’s substantial contributions to the region’s economic vitality and the critical importance of ensuring its growth and sustainability.

Recently, I was pleased to learn that the Toronto Caribbean Carnival is set to receive $3.5 million over the next two years from the federal government to be used to sustain the event and strengthen its capacity, the Festival Management Committee (FMC) announced Thursday, December 19, 2024, according to Now Toronto. I am very happy for the team behind Toronto Caribbean Carnival, as they were facing a critical point in their operations.

I also feel a deep sense of gratitude for the founders of Caribana, such as Lennox Farrell and Charles Roach, friends of my parents and my family. whose sacrifices laid the groundwork for not only the Toronto Caribbean Carnival but also many other Black-led institutions across Canada

Had the Toronto Caribbean Carnival come to an end this year, due to lack of funding, their many sacrifices would have been wasted.

However, it is shameful that the Toronto Caribbean Carnival was placed in a position where it had to petition for funding, essentially begging for survival despite its immense economic and cultural impact.

Recording Artist, Hair Stylist: Blue Will, Location: Toronto Caribbean Carnival, Grande Parade, Toronto, Ontario, Canada, Year: 2024, Photographer: Ajani Charles

Canada has a long history of underappreciating and undervaluing the contributions of its own, especially Black individuals and Black-led organizations in several sectors.

From systemic barriers to equitable funding to a lack of recognition for cultural and social achievements, Black communities have often had to fight hard for acknowledgment in spaces where their impact is undeniable. I understand such dynamics from several personal experiences, as do many of my peers and colleagues.

This systemic neglect has deeply affected events like the Toronto Caribbean Carnival, forcing them to operate with limited institutional support despite their global significance.

The festival’s struggles for consistent funding, promotion, and municipal backing are emblematic of the broader neglect of Black contributions across Canada’s cultural and creative industries.

The stark contrast in how the City of Toronto has treated Taylor Swift’s recent The Eras Tour versus its treatment of Drake and the Toronto Caribbean Carnival, and many other notable Black institutions and individuals highlights significant disparities in recognition and support.

When Taylor Swift’s The Eras Tour arrived in Toronto last November, the city created a symbolic street name for Taylor Swift, extensively promoted her concerts, and ensured the streets were cleaner than they had been in years.

Unlike the pristine conditions ensured during Taylor Swift’s tour, Toronto’s streets have remained unkempt during the carnival, disrespecting the festival’s organizers and attendees. The streets remain unkempt today, which is insulting to Torontonians.

Homeless populations were even temporarily relocated to hotels to present a polished image to tourists during Taylor Swift’s tour, which is one of the most egregious temporary policies I have seen the City of Toronto employ. I recall during the tour being unable to find any homeless people in the downtown core of Toronto for hours, whereas I can find one in less than a few minutes today.

Taylor Swift's Eras Tour had a significant economic impact on Toronto during her six-show stint in November 2024. Destination Toronto estimates that her tour generated approximately $282 million in economic activity for the city, with $152 million attributed to direct spending.

Nonetheless and economically, Taylor Swift has had less of a positive impact on Toronto than the Toronto Caribbean Carnival since the Toronto Caribbean Carnival came to fruition.

Moreover, Drake, a Torontonian who has done more to elevate Toronto’s global reputation than any other artist in recent history, and who has generated hundreds of millions, if not billions for Toronto, directly and indirectly, has never received the same level of municipal fanfare.

Drake’s contributions to Toronto’s global prestige, from making the city a cultural hub to spotlighting its identity in his music and collaborations, have yet to translate into significant municipal recognition or support.

These inequities reveal the city’s inconsistent prioritization of cultural events and figures.

The double standards in celebrating non-Canadians while undermining Black Canadian cultural icons are mirrored in how the city approaches events like the Toronto Caribbean Carnival.

While the carnival has consistently showcased the richness of Caribbean culture and generated substantial economic benefits, it has not been treated with the same respect or afforded the resources that comparable cultural events have received.

Through my first-hand experiences, anecdotal accounts and online research, several recurring issues with the Toronto Caribbean Carnival have come to light, which I believe the organization can now address with their new sources of funding.

Logistical challenges, such as overcrowding and inefficient crowd management in certain parts of the festival, have been longstanding concerns.

One of the most significant concerns is the increasing financial barrier to entry for carnival-goers, particularly those who participate by playing mas.

The overhead costs for costumes, entry fees, and other associated expenses have surged in recent years, making it more difficult for many to justify the expense.

Organizational inefficiencies, including delayed announcements and lack of clear communication with participants and vendors, have further hindered the festival’s potential.

Safety concerns, particularly around ensuring adequate security and first aid, have also been raised by attendees in the past.

Addressing these issues with the newly acquired funding could significantly enhance the festival experience and restore confidence among stakeholders and attendees alike.

These challenges have persisted over the years and are now exacerbated by broader societal factors such as the rising cost of living and post-pandemic shifts in consumer behaviour.

From my perspective, it seemed the carnival was less populated in 2024 compared to previous years, and I suspect the rising costs of living and the escalating costs for consumers have contributed to this decline.

For many, the budget required to participate in Toronto’s carnival approaches or even exceeds the costs of attending world-renowned carnivals in Trinidad & Tobago or Brazil, which are more celebrated and offer a richer cultural experience.

Another persistent complaint is the issue of Stormers. Stormers are unauthorized individuals who join the parade route without paying to play mas, without wearing authorized costumes, disrupting the flow and diminishing the experience for those who have invested in participating.

This problem, which has plagued the carnival for decades, undermines the value of participation and creates frustrations among paying attendees.

Additionally, the customer service provided by bands associated with the carnival leaves much to be desired, based on my interactions with several bands last year.

Compared to the level of service I observe my clients offering their customers through my work with large enterprise companies in technology, finance, and media, the lack of responsiveness and organization was noticeable.

This inefficiency caused me to delay the process of playing mas for the second year in a row.

Poor customer service reflects badly on the overall professionalism of the event and may deter potential participants.

Vendors at the carnival also face challenges, with some running out of supplies during the event.

This lack of preparation impacts the overall attendee experience, as people expect access to food, drinks, and merchandise throughout the day.

Similarly, the limited number and quality of washroom facilities remain an issue. Improving both the availability and innovativeness of these facilities could greatly enhance attendee satisfaction, as these amenities are vital during long, crowded events.

Lastly, the nightlife options during the carnival seemed to be more limited than in previous years, potentially due to the waning popularity of nightlife since the start of the pandemic.

Fewer venues and events reduce the excitement and engagement that often extend beyond the parade itself, limiting the overall experience for attendees who come for the full cultural immersion.

By addressing these issues with the new funding, the Toronto Caribbean Carnival has an opportunity to enhance the event for participants and spectators alike.

Improvements in financial accessibility, organization, customer service, and infrastructure could elevate the carnival’s standing and ensure its continued success in the years to come.

The rising financial barriers for carnival-goers, particularly those playing mas, can be mitigated through strategic collaborations and innovative approaches.

Partnering with more (global) corporate sponsors to subsidize costume costs would reduce the financial strain on participants while encouraging greater involvement.

Additionally, early bird discounts and loyalty rewards for repeat attendees could incentivize participation and foster long-term engagement with the carnival.

These measures would address the growing costs and ensure the event remains inclusive for a broader audience.

To counter the apparent decline in attendance, marketing efforts should be expanded to target both local and international audiences, with an emphasis placed on digital media and innovative visual storytelling.

The longstanding issue of Stormers disrupting the parade can be addressed through enhanced security measures and improved crowd management strategies.

Increasing the number of security personnel along the parade route and implementing controlled access zones with barriers would deter unauthorized entries.

Pre-carnival education campaigns emphasizing the value of respecting mas bands and their contributions could also help reduce stormer activity.

These steps would ensure a smoother parade experience for both participants and spectators, preserving the integrity of the event.

I spoke to my friend, colleague, and mentor Julien Christian Lutz pka Director X about Stormers last year, and he has an innovative solution: Stormers ought to be given a truck at the end of the parade line, playing hip-hop, reggae, and dancehall, in addition to soca, calypso, and genres that align with Caribbean carnival culture, such that Stormers no longer join other parts of the parade (or significantly delay the process).

Customer service improvements are essential to elevating the carnival’s reputation and fostering participant satisfaction.

Providing customer service training for band staff would enhance communication and professionalism, ensuring that attendees receive the support they need.

Establishing a centralized customer support hub for the Toronto Caribbean Carnival, and separately for each band to handle inquiries, complaints, and logistical issues would streamline the experience for participants.

Additionally, post-carnival surveys could gather feedback to identify and address areas for improvement. By prioritizing customer service, the carnival can build stronger relationships with its participants and increase overall satisfaction.

The recurring issue of vendors running out of supplies during the carnival could be addressed by offering workshops on inventory planning and supply chain management.

Setting up centralized supply hubs near the parade route would enable vendors to restock efficiently throughout the day.

Including clear inventory preparation requirements in vendor contracts would ensure that they are adequately prepared to meet the demands of attendees.

These measures would enhance the vendor experience and ensure that participants have access to food, beverages, and merchandise throughout the event.

The lack of adequate washroom facilities at the carnival is a pressing issue that requires innovative solutions.

Investing in more high-capacity mobile washroom units with attendants to maintain cleanliness and stock supplies would significantly improve attendee satisfaction.

Exploring more partnerships with companies that provide eco-friendly and tech-enhanced restroom solutions, such as self-cleaning units or app-based locators, could further modernize the facilities.

Increasing the number of washrooms along the parade route and near major event hubs would reduce wait times and enhance the overall experience for participants.

To address the decline in nightlife options during the carnival, partnerships with local venues, clubs, and bars should be prioritized to curate a robust calendar of carnival-themed nightlife events so that there are at least as many options as was available during Caribana during the early 2000s.

Offering incentives such as discounted rates or joint promotional campaigns would encourage collaboration and drive attendance.

That said, I ultimately had a blast at the Toronto Caribbean Carnival 2024 and shot many photographs that I love.

The Toronto Caribbean Carnival is more than just a celebration of culture; it is a testament to the resilience, creativity, and unity of the Caribbean community, with far-reaching benefits for Toronto, Ontario, and Canada as a whole.

While the event has faced significant challenges, including systemic neglect and recurring operational issues, the carnival’s potential for growth and greater impact remains undeniable.

As one of the largest cultural festivals in North America, it deserves better; it deserves recognition, support, and innovation to secure its place as a world-class event.

To the executives who work for my clientele at leading tech, finance, and media organizations, I encourage such executives to see the Toronto Caribbean Carnival as not only a cultural cornerstone but also a valuable platform for strategic partnerships, sponsorships, and investment. Moreover, an investment in the Toronto Caribbean Carnival is an investment in Canada as a whole.

The resources of such organizations can transform the festival, addressing its challenges while aligning with goals of community impact, cultural engagement, and global visibility, ensuring Toronto Caribbean Carnival thrives for generations to come and continues to inspire and unite millions worldwide.

Toronto Caribbean Carnival 2024

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