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Our festival would not be possible without your support.

Please donate to support our community and festival. Allow us to continue to celebrate, raise awareness and to resist discrimination and oppression through our original music, masquerade performances, culinary experiences, and other expressions of our Caribbean culture.

Our Story

The Toronto Caribbean Carnival (TCC) or Toronto Carnival, is a vibrant and dynamic celebration of Caribbean culture, heritage, and artistry. Now in its 57th year, the Carnival is one of the largest cultural festivals in North America, attracting millions of participants and spectators from around the world and contributing over half a billion dollars to the Toronto economy.

The Toronto Caribbean Carnival began in 1967 as "Caribana," a community-led initiative to celebrate Canada’s Centennial by showcasing Caribbean culture. The carnival is rooted in the desire to create spaces where the Caribbean diaspora can connect, express their cultural identities, create opportunities for financial success, and enhance their ability to thrive in Canada.

From its early days on Yonge Street, the carnival has expanded significantly, attracting international attention and participation. The inaugural Toronto Carnival parade took place in 1967. It was a groundbreaking event and a gift from the Caribbean community to Canada in honour of the country’s centennial. The original parade attracted 50,000 people, setting the stage for the future of the carnival, and laying the foundation for the massive cultural festival it is today.

The Caribana festival was eventually renamed “Toronto Caribbean Carnival” to better reflect the diversity of the Caribbean nations represented and to emphasize the carnival’s location, in keeping with international trends.

Today, the Toronto Caribbean Carnival features a series of events, including parades, music competitions, and cultural showcases, all highlighting the rich traditions of the Caribbean.

In 2022, a new leadership team assumed management of the carnival. The FMC focuses on not only showcasing the vibrancy of Caribbean culture through large-scale events like the Toronto Caribbean Carnival but also acts as a catalyst for economic empowerment, educational advancement, and social inclusion for racialized and marginalized communities.

Leadership & Operational Framework

The Toronto Caribbean Carnival and other events is managed by the Festival Management Committee (FMC) with oversight from the Board of Directors.

 Our Board of Directors and Executive Leadership team members are composed of individuals who bring a wealth of experience, expertise, and a deep commitment to our mission. 

Board of Directors: 

Our Board of Directors provides strategic oversight and guidance, ensuring that FMC’s work is aligned with our mission and values. The Board is composed of individuals who reflect the diversity of the communities we serve and a wide range of professional experience and bring a range of perspectives and expertise to their roles. 

Executive Team: 

The FMC’s leadership team is responsible for the day-to-day management of the organization, overseeing the implementation of programs and initiatives, and ensuring that we remain true to our mission. Our leaders are passionate about empowering communities and are dedicated to achieving our strategic goals. 

Operational Framework: 

FMC’s operational structure includes various departments and committees, each focused on a specific aspect of our work. This framework allows us to efficiently manage our programs and initiatives while maintaining a high level of accountability and Transparency. 

The Toronto Caribbean Carnival is managed by the Festival Management Committee (FMC) with oversight from a board of directors comprising members of the carnival and business community.

Volunteer and Community Involvement: Volunteers play a critical role in the success of the Toronto Caribbean Carnival. The management team coordinates with thousands of volunteers who assist in various capacities, from event operations to crowd management. This community-driven approach ensures that the Carnival remains a true celebration of Caribbean culture, deeply rooted in the contributions of its people.

Other Stakeholders: The Carnival also involves collaboration with multiple stakeholders, including the City of Toronto, local businesses, community groups, and international partners. Regular meetings and consultations are held with these stakeholders to ensure the festival aligns with community expectations and city regulations. The festival’s management also engages with the Caribbean diaspora to maintain the cultural authenticity and relevance of the events.

Vision, Mission & Values

Vision: To be the leading Caribbean Arts and Cultural Organization in North America.

The Mission: To celebrate, preserve, and promote the rich cultural heritage of the Caribbean community in Canada.

Values

RESPECT

Conducting ourselves with honesty while valuing the contributions of others COMMUNITY ENGAGEMENT Recognizing the importance of our community’s interest in our decisions.

INTEGRITY

We commit to firm adherence to the code of incorruptible and honorable moral and ethical values in everything we do.

TRUST/ CONFIDENTIALITY

We will operate in an environment where we value internal and external relationships, where we commit to, have confidence in, and feel safe in communicating with each other without fear of reprisal.

EXCELLENCE

At all times, doing everything to the best of our ability recognizing our institutional limitations and principle of artistic authenticity.

CORPORATE SOCIAL RESPONSIBILITY

We will conduct our business taking into account our social, economic, and environmental responsibilities

PASSION/ FUN

We will undertake our work with the ultimate intensity of effort and boundless enthusiasm while at the same time, having fun in its execution.

HONESTY

We will operate at all times in the spirit of openness, transparency, and truthfulness. We will put the organization’s interest at all times ahead of self-interest.

Community Outreach & Impact

The Festival Management Committee (FMC) has developed several outreach and education programs to engage the community and promote cultural awareness. These initiatives aim to support economic development, cultural education, and community engagement. These outreach and education programs are integral to the FMC and Toronto Caribbean Carnival's mission to promote cultural enrichment, community development, and economic empowerment. By engaging various segments of the community, these programs help preserve and celebrate the rich cultural heritage of the Caribbean while supporting the broader socio-economic goals of the community. Here are some of the key programs:

Building Black Entrepreneurs Program (BBEP): This program supports nearly 400 entrepreneurs by creating approximately 130 jobs and generating significant economic activity. It focuses on educating and empowering Black entrepreneurs to run their businesses efficiently and effectively.

Carnival Arts Initiative with the Toronto District School Board (TDSB): This initiative integrates carnival arts into local schools, potentially impacting 235,000 students and their parents. The program explores creativity and cultural heritage, emphasizing the history, artistry, and craftsmanship of costume-making.

Diversity and Equity Training Programs: Engaging 200 community leaders and educators, these programs focus on promoting inclusivity and respect within the community, fostering a deeper understanding of cultural diversity.

Schulich Business Excellence Academy at York University: In partnership with the Schulich School of Business, this program supports high school students from under-represented groups, particularly Black and Indigenous communities. It offers business education and mentorship to help students succeed in their future careers.

Young Learners Program with Toronto Football Club: This initiative supports the educational and athletic development of over 1,000 students, enhancing their academic performance and physical well-being. It includes mentorship and activities designed to foster growth and development in young learners.

Young Leaders Program: A new FMC program led by young people to encourage their peers to get involved in leadership roles in business, politics (for all political parties), and cultural and community organizations.

Caribbean Community Advocacy Network: To ensure continued advocacy for greater support for Caribbean and black interests the FMC also promotes socio-political (non-partisian), cultural, and economic advocacy for the Caribbean community at all levels of government. The aim is to amplify the voice of Caribbean interests, ensuring that our concerns are heard and addressed by policymakers.

History Of Carnival

Most beliefs attribute the modern-day Caribbean carnivals to the island nation of Trinidad and Tobago. The festival initially emerged from African traditions and cultural elements of French colonizers. The white French plantocracy staged grand masquerade balls just before Lent. The enslaved African population mimicked these balls in clandestine celebrations, incorporating elements of African music and drumming

After Emancipation in 1834, the cultural expressions of the ex-slaves continued to evolve, even in the face of suppression. Tamboo bamboo musical instruments made from the bamboo plants evolved into steelpan, resistance songs transformed into satirical and social commentary that became calypso music, and the masquerade balls were re-shaped first into Ole Mas during J’ouvert (the start of carnival) involving satirical and theatrical costumes to mock societal norms, political figures.

The carnival continued to transform in the early to mid-20th century with more organized forms of masquerades. The parades of these organized bands became larger, and the costumes more intricate, reflecting a blend of creativity and commercialism.

In the 50s and 60s, we saw band leaders such as George Bailey, Harold Saldenah, Stephen Lee Heung, and Edmund Hart bringing innovative approaches to costume design and thematic presentation. They set the stage for future generations of Carnival bands.

As the bands evolved, so did the carnival, and today it reflects diverse cultural heritage, incorporating influences from African, Indo-Trinidadian, Chinese, Syrian, Lebanese, and European communities.

The Carnival spread across the Caribbean and made its way across the globe where Caribbean people settled including here in Toronto.

Toronto Carnival’s Beginnings: The Toronto Caribbean Carnival began in 1967 as "Caribana," a community-led initiative to celebrate Canada’s Centennial by showcasing Caribbean culture. It has since grown into one of North America’s largest cultural festivals, becoming a key part of Toronto’s cultural landscape. From its early days on Yonge Street, the carnival has expanded significantly, attracting international attention and participation.

The inaugural Caribana parade in 1967 was a groundbreaking event, laying the foundation for the massive cultural festival it is today. It attracted 50,000 people, setting the stage for the future of the carnival.

Calypso

Calypso music is a vibrant and rhythmic genre that originated in Trinidad and Tobago during the early 19th century. It evolved from the West African traditions brought to the Caribbean by enslaved Africans, who used this musical form to communicate, satirize social issues, and express political commentary. Originally performed in a call-and-response style, calypso was heavily influenced by French, Spanish, and Creole musical elements. The lyrics, often witty and filled with double entendres, address topical events and societal issues, making calypso a "poor man's newspaper" in times of limited literacy. As it evolved Calypso has spawned many subgenres, including soca mento, benna, spouge, ska, chutney, and extempo. Calypso has been part of the Toronto Caribbean Carnival since 1967.

The first commercial recordings of Calypso occurred in the 1920s and 30s in Trinidad when the calypso monarch competition also emerged. Until the emergence of Calypso Rose in the mid-1960s, the genre had been dominated by men, despite a long tradition of female chantwells. Calypso Rose’s success in the 1970s culminated in her becoming the first woman Calypso Monarch. 

The artform was nurtured in Canada first by the Calypso Association of Canada and now The Organization of Calypso Performing Artists (OCPA) which is a registered non-profit arts organization founded in 1981 to guide the growth and development of calypso in Toronto and Canada.

Steelpan

Afropan became a cornerstone of the city's steelpan culture, regularly performing at events like the Toronto Caribbean Carnival's Pan Alive competition, which began in 1997.

The steelpan also found a home in Toronto's educational institutions. Beginning in the 1980s, the Toronto District School Board (TDSB) incorporated the instrument into its music curriculum, fostering new generations of pannists. Today, over 30 schools in Ontario offer steelpan programs, and the TDSB Panfest provides students a platform to showcase their talents.

Organizations like the Ontario Steelpan Association and the Canadian Federation of Steelpan have played crucial roles in promoting and preserving steelpan music in Canada. These groups organize events, provide resources, and support the community through various initiatives.

The steelpan in Toronto has not only preserved its traditional roots but has also evolved by incorporating urban genres like R&B and pop, reflecting the diverse influences of its new home while maintaining its Caribbean heritage.

This cultural preservation and adaptation of steelpan music highlight its importance not only as a symbol of Caribbean heritage but also as a unique and integral part of Canada's diverse musical identity.

For further details and comprehensive insights, refer to the following sources:

Brief History of the Steepan:

The steelpan’s history goes back deep into the 1800s Following emancipation in 1834, former slaves were allowed to participate in Trinidadian Carnival activities. However, African-descended percussive performance was heavily targeted by restrictive government bills, sparking protests and demonstrations. These protests facilitated the development of improvisational and non-traditional percussive instruments out of scrap metal, metal containers, dustbins and bamboo stamping tubes. These 'Tamboo Bamboo' bands are widely accepted as the precursor to modern steel bands. Read more. (expand to below)

By 1939 the first all-steel band, Alexander’s Ragtime Band, emerged, making steel instruments a preferred carnival accompaniment.

By 1955, pans had become standardised and were largely constructed from 55-gallon oil drums, being played by striking the metal with a wooden ‘stick’ or ’beater’. These developments set the stage for the popularisation of steel pan as we know it today. 

As the Trinidad diaspora spread across the globe, they took their music with them, including the UK, US and Canada