Type of Stakeholder
National Departments, Provincial Departments and the City of Cape Town Embassies and High Commissions
Institutions of higher learning
Faith based communities
Number
City of Cape Town; National and Provincial Departments Italy; Spain; France; United Kingdom; Nigeria; China, Japan; Brazil;USA. University of Stellenbosch; University of the Western Cape; University of Cape Town; Cape Peninsular University of Technology United Reformed Church; Representatives of Anglican Church; Catholic; Moravian; Congregational; Pentecostal; Muslim; Hindu; African Apostolic.
Nature of Involvement
Regular updating and reporting. Negotiations on sponsorships, provision of services and resource provision. Approvals for programme, dates, venues, and functions where required. Initial contact and follow-up as required, followed by updates and issue-based interactions.
Negotiations with student bodies and administration on the utilizing students as volunteers for "pushers" and marshalls.
Negotiations and establishing partnership relationships. Joint programmes where required.
COMMUNITY GROUPS, AREAS AND CULTURAL ACTIVITIES The various groups we are working with are drawn from the following areas (the intention is to increase these by 30%.) Name
Area
Activity
1. Harley-Davidson Club
Various
Motorbike club
2. Drummers
Drumba Drumfun Project:
Drumming
Rusthof Primary School Strand Secondary School Rusthof Secondary School Gordon High School Helderberg Youth Performing Arts Trust Boys Town Durbanville Children's Home Durbanville drumming group Red Zebra Drummers:
Drumming
Gugulethu/ Nyanga/ Ocean View/ Central Cape Town/ Germany/ Cameroon/ Germany/ Britain Durbanville/ Kenya/ Canada KhayelitshalNorth Pine 3. St Joseph's Marimba Band
Rondebosch
Marimbas
4. Amy Biehl Foundation
New and Old Crossroads
Gumboot Dancers
5. Bridgetown Theatre Company Bridgetow n//Hanover Park! Grabouw 6. Vadhini Indian Dance Academy
Ryla nd s/ Gatesvi Ile/ Cla remo nt
Dance Indian dance
19 '
7. Jikeleza Dance Project
Hout Bay
Pantsu la Dance
8. Sentinel Intermediate School
Hout Bay
Pantsul a Dance
9. United Reform Church group
Kraaifontein and Bishop Lavis
Dance
10. Kaapse Klopse
FactretonNarious areas
Ghoema
11 . Aphrodite Belly Dancers
Strandfontein/ Crawfordl Gatesvi ll e
Belly Dance
Vanguard Estatel 12. Feminine Divine
Parow North
Belly Dance
13. Palace of the Winds
Tokai
Belly Dance
14. Avondale Drum Majorettes
Atlantis/ Phil ade lphi a
Drum Maj orettes
15. Gay Community
Cape Town and surround s
Performing art
16. Likwezi Dance group
Nyanga
Isibujwa Dance
17. Imbewu Dance group
Gugu lethu
Isibujwa Dance
18. Bu lumko High School
Khaye litsha
Isibujwa Dance
19. Afr'i Divas
Tygerva ll ey/ Bellville
Samba Dance
20. Gleemoor Dance Group
Gleemoor/ Ath lone/ Mitchell's Plain
Samba Dance
21 . Faldela's Dance Academy
Retreat
Samba Dance
22. Puppeteers
Be lgravia Estate I Athlone
Puppets
Crestway Seconda ry school
Puppets
Retreat 23. Dancers
Stell enbosch University
Lead Dancers
University of Western Cape University of Cape Town Jazz Art Bridgetow n Th eatre Company Faldela's Dance Academy Individuals from various area s
21 ,-~:". ~"
The vision 1. To create a Carnival which showcases and celebrates the diversity of South Africa and which puts the Carnival on the international tourism calendar. 2. To provide a significant hub for the clothing, costume and
set-bu ilding industri es in the Western Ca pe. 3. To create employment and training opportunities in costume, float design and production as well as large event logistics.
4. To create experiences where tourists and locals can see the glamour and creativity of the Carnival throughout the year. S. To develop a tourism offering cal led "Carnival World" wh ich is a central hub for design, costume creation, fioat building, dance training and major event production.
CONTACT: Michael Worsnip; michael@capetowncarnival,com;Tel: 0214665296(AyaGidi); 9th Floor, Media City, 1 Heerengracht, Cape Town 8000,
JAY DOUWES Chief Executive Officer
Tel:0214465311 Cell: 072 1162466 Jay@capetowncarnival.com
www.cilpetowncilmlval.com
Main sponsors
arts and culture Department: Arts and Cu lture REPUBLIC OF SOUTH AFRICA
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THIS CITY WORKS FOR YOU
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Background ................................. 3 Vision .................................................. 3 Direct impact..............................5 Skills development................ 9 Social cohesion ....................... 13
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Stakeholders ..................................... 15 International diversity.............. 23 Areas of development.............. 25 Principles of development...27 Concl usion .......................................... 31
Lead-up events ......................... .32 Media launch ............................... 37 Carnival ............................................39 Publicity ........................................... 51 The future ...................................... 55
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Line· up of floats ENTRANCE
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Background The Cape Town Carnival held a parade for the first time in March 2010. Shortly after this the Carnival once again thrilled the crowds in June 2010 for the FIFA World Cup. Thi s year on 19 March 2011, the Carnival managed to attract significantly more spectators. Long Street was packed to capacity with an estimation of 60000 people. The Cape Town Carnival is a non -profit organisation (Trust registration number: 1T3811 / 2008). The Carniva l is run by a board of Trustees, cha ired by Professor Rachel Jafta. There is a permanent staff component of 3.
Vision • To create a Carnival which showcases and celebrates the diversity of South Africa and which puts the Carnival on the international tourism calendar. • To provide opportunities for community participation in arts and culture and create a significant hub for the cloth ing, costume and set-building industries in the Western Cape. To create employment and training opportunities in costume, float design and production as well as large event log istics. To create an environment of social cohesion where tourists and locals can experience the glamour and creativity of the Carnival throughout the year. To develop a tourism offering called "Carnival World "which will be a training and production hub for design, costume creation, float building, dance training, music development and major event production.
3
Direct impact ECONOMIC PARTICIPATION Due to an increased media and marketing campaign for the Carn iva l in 2011 , spectator numbers increased to the point where Long Street was filled to capacity (estimated at 60 000). The hig h impact marketing strategy ensured that the Carnival was topof-mind with the general public. By association and profile, so also were its sponsors. All of the restaurants and clubs operating in Long Street reported positive ly on the Carnival event. In 2011 , through collaboration with the Cape Town Partnership, we ensured a greater level of awareness and buy- in to the event from them than was the case previously. Besides prov iding bunting for the resta urants and party packs fo r businesses, we encouraged them all to host corporate parties and to make fu ll use of the overhang ing ba lconies in the street. After the Carnival parade, Long Street was turned into a wonderful street party, once again with significant economic impact to the area. All of the participants for the Carn iva l requ ired refreshment. We identified and ut ili sed certified loca l community food providers to ensure that there was local benefit in the provision of services. Only suppliers from the Cape Town area were used for the provision of all requi red services. This t rans lated into a direct expenditure of R6.8m in the following funct ions: Costume production Float Building Community development Event organisation The breakdown of direct community impact on SMMEs is as fo ll ows: Long Street Businesses 97 Food providers for community groups 14 (u nemp loyed women) Street Traders 2 (as allowed by the City of Cape Town) Service providers 240
5
JOB CREATION Employment brought about by the Cape Town Carnival 2010/ 2011: 3 full-time jobs (CEO, Admin & Finance, Logistics & Marketing) 1 contract position (Community Facilitator) - 15 months 1 contract position (Costume Creative/ Production Manager) - 9 months 2 contract positions (Costumier/ Community Co-ordinator) - 5 months • 81 contract positions (Garment workers, Crafters) - 3 months • 2 contract positions (Costume department; props/ costume assistants) - 3 months • 40 contract positions (Make-up, Hair) • 1 part time position (Driver/ runner) • 2 contract positions (Floats/ Installations/ Puppets - Creative Director, Puppet Maker) - 5 months 3 part-time positions (Community Choreography) • 3 positions (marketing, fund-raising, design, co-ord ination) - 7 months • 3 positions (event planning and management) - 7 months • 40 contract positions (Float builders; welders, carpenters, set-bui ld ers, artists) - 3 months • 100 contract positions (Security) - 1 day CAPE TOWN CARNIVAL PERSONNEL DEMOGRAPHICS
Department
Male
Female
Total
Wh ite
Black
Main Office
1
3
4
2
1
Events and Marketing
6
1
7
5
0
Float Building
30
11
41
15
19
Costume Production
18
67
85
10
Security
72
33
105
Total
127
115
242
52.5%
47.5 %
Percentage
Coloured
Indian
Total
0
4
0
7
7
0
41
26
49
0
85
0
42
63
0
105
32
88
122
0
242
13.5%
36.5%
50%
0
1 2
7
The Western Cape, and Cape Town in particular, is an area which has been badly affected due to the downturn in the economy, especially where this has had a direct impact on industries, such as the garment-making industry. The Cape Town Carnival enables the use of already residual skills within the community to be used and to provide avenues of employment, if only for a limited period of time. Long term sustainability planning for the project enta il s the development of what we are calling "Carnival World " - which will be a permanent area where carnival garments, costumes, party attire and related items will be made, displayed and sold. This will also provide a focus for the Carnival throughout the year.
Education and Skills development The community involvement with the Carnival is large, with 2 511 people from a wide range of community groups participating in the parade. In addition to thiS, each week for a 4 month period before the parade, participants attended Carniva l Schools, where they were taught dance routines or were involved in costume production and the building of floats. The Carnival ensured that a range of skills were transferred to individuals and that through this and fairly intensive groupwork, that community and social cohesion is enhanced. Community dancers, bands and performers performed during the parade and at the after-party in Long Street, giving them huge exposure to the thousands of spectators and local, national and international media. (This year the Carnival was profiled on British Television through RDF Television and in South Africa on MNet and Msanzi Magic). Television interest, as well as the size of the audience on the street at the event is a direct stimulus on communities to ensure that they perform with a high degree of professionalism. At present, we are dealing with existing local community cultural or performance groups on the basis of a single Carnival event. Preparation for the Carnival takes place for about 4 months prior to the event. Groups are required to rehearse on a regular basis and this community participation has a direct impact on what it is that young people are engaged with in their spare time, thus lessening significantly their exposure to gangsterism, drug and alcohol abuse and HIV and Aids. The medium to long-term objective is to engage with these groups in a more comprehensive manner, which would strengthen organisation and enable long-term sustainability. In addition, if funding is available, we would want to identify and work specifically with communities where there is a lack of organisation and cu ltural activity.
9
SKILLS TRANSFER
Direct skil ls transfer occurred in the following: 8 Large animal puppeteers 6 Puppet builders 26 Float bui lders 2 100 Dancer/ performers 160 Drummers Administrative skills within participant groups 42 Costume production and crafting VOLUNTEERS
The Carniva l is undertaking a phased process of ski ll s transfer for the following: University students In 2011 stude nts from 3 universities, namely the University of Cape Town; the University of the Western Cape and; Stellenbosch University worked together on the production of a mega city event project, in an integrated way. Students wi ll be required to design and project-manage aspects of parade operations for 20 12. This expos ure wi ll assist in the development of a sense of social responsibility amongst future entrepreneurs and leaders. Schools Inclusion of more schoo ls in future Carnivals, in order to introduce arts and culture, dance and big events to them as platforms for cultural expression and participation. Cross-po llination of dance and music genres and utilization of existing skills. Inclusion of additiona l schools in the programme of existing groups and the training of learners by dance groups. Facilitation of sponsors hip re lationships to schools for the support of arts and culture programmes and infrastructure. Cultural Groups The size of participant groups grew from an average of 40 per group in 2010, to an average of 175 per group in 2011 . • Introduction of art forms to communities and groups which have not trad iti onally been associated w ith these genres . • Facilitation and funding of administrative capacity within participant groups. Puppet and model making Six children from a schoo l in Retreat were taken through all the processes of puppet-makin g and then paraded with the puppet in the Carnival.
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Social cohesion Cape Town is, arguably, one of the most divided cities in South Africa, with leve ls of inequality between rich and poor and racially closed communities which have little opportunity to integrate. The 2010 FIFA World Cup provided a significant opportunity for these divides to be breached. It was almost as if the people of Cape Town and the Western Cape were "given permission" to enjoy each other, and party together. The Cape Town Carnival is the only other mega event in the City where this has happened. Some 60000 people, a completely diverse crowd, filled Long Street to capac ity. In addition the participants reflected the demographic of the City and surrounding areas. CAPE TOWN CARNIVAL COMMUN ITY GROUP DEMOGRAPHICS Sub totals
* men
women
youth
children
400
635
398
688
18%
28%
18%
30%
elderly
total
coloured black
135
2256
1185 52%
6%
white
indian
total
561
410
100
2256
25%
18%
5%
* children 13-16; youth 17-20; men and women 21-64; elderly 65-85. The Cape Town Carnival 's requirement was for large groups to participate, in order to create maximal visual impact. This requirement meant that several smaller cu ltural groups were required to work together. There are numerous encouraging stories which were a result of this - such as schools working together from different areas, and a white group of dancers learning Indian dancing for the first time. In addition, the inclusion of cultural groups from rural areas, such as Grabouw, Strand and Atlantis provide positive cameos of the kind of socia l cohesion which the Carnival is able to produce.
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Stakeholder Engagement Type of Stakeholder
Number or name
Nature of Involvement
Support and assistance with regard to the provision of services, meeting venues and resources, including in-kind and monetary support, publicity and marketing. Establishing contact and supportive relationships directly and through the Cape Town Partnership. Production of relevant material for use in securing contracts where necessary.
Metro
City of Cape Town
SMME's (including Restaurant and Club owners)
122
Cultural organisations
Harley Davidson Club; Drumba Drumfun project; Rusthof Primary school: Strand Secondary School; Rusthof Secondary School; Gordon High School;Helderoerg Youth Performing Arts Trust; Boys Town ; Durbanville Children'S Home: Durbanville Drumming Group: Red Zebra Drummers; SI Joseph's Marimba Band; Amy Biehl Foundation; Bridgetown Theatre Company; Vadhini Indian Dance Academy; Jikeleza Dance Project; Sentinel Intermediate school; United reform Church group; Kaapse Klopse Kamivaal; Aphrodite Belly Dancers; Feminine Divine; Palace of the Winds; Avondale Drum Majorettes; LGTI Community; likwezi Dance group; Imbewu Dance group; Bulumko High School; AfriDivas: Gleemoor Dance group; Faldela's Dance Academy; Belvedere Puppeteers; Crestway Secondary School; Universities of the Westem Cape, Stellenbosch and Cape Town ; Jazz Art; Bridgetown Theatre Company.
Liaising with, supporting, reporting on progress and negotiations where required.
Tourism bodies
Cape Town Tourism; Cape Town Routes Unlimited; Tourism business formations
Engagement relating to support and profiling of the event. Negotiation of MOUs for long term relationship.
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International - celebration of diversity In all the planning for the Carnival, one over-riding theme has become apparent. Whereas Brazil can boast one single language, a single religion and a single musical genre, South Africa is known throughout the world for exactly the opposite. We celebrate our diversity - our diversity of culture, language, colour, race, gender and sexual orientation. We celebrate the fact that we are not the same. The wonder of our recent history is that, although different and diverse, we cohere in a single identity. The diversity which we celebrate in Cape Town, in particular, (because of the large tourism and scenic nature of the city) is diversity on a global scale. Cape Town remains the tourism centre of the country. It is also a city which is populated by a vast array of foreign nationals from a wide variety of nationalities. The Carnival celebrates this breadth of our African identity. The Carnival for 2011 had participants from the following countries: Cameroon, Kenya, United Kingdom, Canada and Germany as well as participants from 6 South African language groups. SPORTS DEVELOPMENT The Cape Town Carnival in 2011 screened two major sporting events in Greenmarket Square on the afternoon of the Carnival, viz, the Bulls vs Stormers Rugby Match and the Manchester United vs Bolton Football match. These were screened on a large mobile screen. Some 8 000 spectators attended the screenings. The reason for having these screenings was to ensure that the Carnival enticed a crowd of people which would, perhaps otherwise, have been unlikely to have attended an event such as the Carnival. We hoped that people attending the "FanJol" in Greenmarket square would stay on to watch the Carnival. This is exactly what happened. We also approached the Harley-Davidson motorbike club to participate in the Carnival, thus ensuring, again, a different audience from the usual and also avid participation from the white community, which had previously been largely absent from the Carnival in the previous year. Both interventions were a huge success. HEALTH AND WELL-BEING The Carnival not only increases community participation at a local level, but, because it requires regular rehearsal in dance and movement, has a direct impact on the health of the participants. Rehearsals often go on for 3 hours at a time and provide a focus of healthy social interaction and activity for the individuals and communities taking part. The Carnival ha s a majority of participants betw een the ages of 15 and 35. However, a significant amount of participants are older than this. (The oldest participant was an astonishing 84 years old!). What the Carnival provides for the youth, is a forum where young and old can socialise together in an activity which everyone can enjoy. This is extremely rare.
..... .
23 '
Other areas of development
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YOUTH The Carn ival requ ires not on ly community part icipat ion from large groups, but it also requ ires you ng peo ple to model and showcase the large costumes. 60 yo un g people, selected from activati ons and promotions, were chose n to wear the large costumes. In most in st ances, t hese we re yo ung peop le who had never had t he op portu nity to parade or mode l before. Th e Cape Town Ca rn iva l prov ided them w it h a un ique op port un ity - as we ll as the poss ibility of be in g spotted on te levision or elsew here. The fl oats used in the Carn iva l are non-motorized and environmenta ll y fri endly. Th ey req uire "pushers" to ma ke th em mobile. Some 255 st udents f rom t he Unive rsity of Cape Town, Uni ve rsity ofth e Western Cape and the Uni vers ity of stell enbosc h were recruited as lead dance rs, "pu shers" and marshall s fo r t he pa rade. For most of th em, t hi s was th e fi rst t im e they had wo rked together on a project w ith students from t he other uni ve rsit ies. We inte nd to intensify thi s wo rkin g re lati onship in t he co min g Ca rnivals. AGED One of the remarkab le characteristics of t he Carnival is t he diversity of age ranges amongst the participa nts. Whi le the majority of vo lunteers (80%) are between the ages of 15 and 35, a sign ificant proport ion is between the ages of 35 and 84. Pa rt icipation in t he Cape Tow n ca rni va l provid es peopl e of all ages w ith a platform to work together fo r a co mmon goa l. HIV/AIDS, GANGSTERISM AND DRUG ABUSE The Carn ival provides a platform for you ng peop le to engage in hea lthy, social engagement, t owa rd s t he ach ievement of a shared goa l. The fact th at youn g peopl e are engaged in the discipline of da nce or t rai nin g means t hat th ey are focuss in g their energies in social, rather th an anti-soc ial acti vities. Such activity w ill co ntribute toward s a lessening of opportunit ies fo r expos ure to HIV/ Aid s, ga ngsteri sm and dru g abu se. Pos iti ve role modellin g is also provided in healthy group acti viti es w here there is Significa nt social co hes ion takes place in the excite ment of performance before such a huge audience. CARNIVAL WORLD The long term vision is to develop a site, near the centre of t own, whic h will be ca lled "Carnival World ". The development of this concept is based on the realisation that the concept of "Carn iva l" does not need to be a once-off sing le annual event. Th e parade wi ll happen on ly once a year, but t he development towards that parade an d a host of other activit ies around it happens t hroug hout t he yea r. As the "Carniva l" brand grows and gains momentum, so do t he opportun it ies for touri sm, commercialisation and community involvement. Carnival World wou ld also provide a central location for the production of floats. All of these activities wou ld be opportunities for training, employment and skills transfer.
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AFTERLIFE FOR COSTUMES AND FLOATS
Many of the costumes which were made for the Carnival parade find an afterlife in the many requests we get from community groups to use them for charities and fund raisers. This also has the effect of promoting the Carniva l in areas outside the Cape Town Metro and provides opportunity for more remote rural areas to experience the excitement and glamour of the costumes. In instances where the requests come from people and/or groups which are able to pay for the hire of the costumes, a nominal fee has been charged. Where the requests have come from poorer community groups, the use has been free of charge. Where there are working dance groups, the costumes from the Carnival have been donated to that group. This enables them to be used for shows and local parades. In addition we have provided costumes for the KKNK, Langenhoven Gymnasium in Oudtshoorn, Afrikaburns, and two church groups in Cape Town. Floats have been stored in a warehouse in order to explore the possibi lity of re-use for different audiences (such as the Switching on of the lights in November). The City of Cape Town has expressed interest in re-use. We are also looking at the possibility of re-use at other large festivals in future, such as the Oyster Festival in Knysna.
Characteristics and principles of development The Carnival is now one of two Mega events in Cape Town. Its success is part of the legacy of the 2010 FIFA World Cup. It is clearly something which people of all ages want to actively participate in and support. Cape Town is a very divided city and the Carnival provides an opportunity for divisions to be overcome and for people from different backgrounds to come together in a common goal. The Cape Town Carnival is entirely reliant on sponsorship for its success, but the entire amount raised is used for the purpose of producing the Carnival itself. Upwards of 80% of the amount raised in spent entirely on youth development, training and profiling. The Carnival can demonstrate a bias towards the participation of women in not only the parade, but also in relation to employment and training opportunities. In addition, the racial demographics of both the workforce and the participants are reflective of the racial demographics of the city and surrounding areas. The Carnival is a major economic event for the City of Cape Town and the Western Cape. It is an event which is both driven by youth participation and enjoyed by the youth as spectators and participants. Because ofthe operational requirements of the Carnival, the entrepreneurial skills of young people are increased, supported and enhanced through the provision of se rvices and the event itself. Training opportunities are provided in the production of costumes, floats and event requirements, as well as technical skills for a range of participants.
The contribution to social cohesion and nation building is demonstrated through the size and diversity of the parade and the crowds, as well as the significant enthusiasm and pride w hich the participants have in the event itself. In addition, the fact that groups from different communities are required to work together is a highly significant and demonstrable factor in social cohesion and nation building in a divided city. The Carnival has now been in operation for two years. The number of spectators has grown from 15000 in 2010, to 60 000 in 2011. In 2012, we are anticipating crowds of up to 100000 people. In 2010, there was one float. In 2011, there were nine. In 2012, we are planning for fifteen floats. The kind of growth we are anticipating is directly significant in relation to the amount of volunteers which will be involved. The Carnival works across a range of sectors, involving aspects w hich are technical, cultural, development and marketing related. We are one of the very few events w here all three levels of government are engaged, together with the corporate sector. The Carnival has multi-sectoral appeal. The Cape Town Carnival has developed a sustainability plan, w hich involves the development of a tourism hub called "Carn ival World". This centre will be a place where youth can receive ongoing training and where Carnival related "goods" will be made, sold, hired and provided throughout the year. Goods and skills acquisition, such as wo rkshops in costume-making, engineering skills for float building, dance workshops etc will be provided. It is anticipated that media rights to the Carnival will provide a major source of sustainability, following the model of other Carnivals, such as that of Rio. The Cape Town Carnival relates to and engages each community in a regular, open and transparent way. Decision-making is participative and all participating groups engage fully with the development of every aspect of the Carnival as a production, including costume conceptualisation and design, float conceptualisation, music and event planning and coordination.
29
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Conclusion The Cape Town Carnival has achieved a sign ificant positive profile for itself as well as significant reach into the communities in which it works. The potential for development of the Carnival in Cape Town is huge. This assertion is based on the deep Carnival tradition which has been established in the City for the past 150 years, as well as the fact that Cape Town remains one of the country's most significant tourism nodes. The Carnival was a huge media success and has placed the event top-of-mind in local and national consciousness, going forward . It has managed to establish itself as one of the two Mega events of the City. The Cape Town Carnival has developed a business plan which will ensure long term susta inability and which includes Significant partnerships with the Cape Town Partnership; the City of Cape Town; Provincial and National Government and; key sponsors in the bUsiness sector. The business plan also ensures that there is sustained and significant skill s transfer to commu nity cultural organisations, in order that t h e Carnival is an entity which is "owned" by and supported by commun ity interests. The long term vision of the Carnival is to create a brand for Cape Town, the Western Cape and South Africa, which is instantaneously and universally recognised . Aligned to this will be the development of "Carnival World"which will become a tourism hub in its own ri ght. I n order to achieve these objectives, it is essential that the Cape Town Carniva l is supported in a sustained, reliable and significant manner for the first five years. This support is necessary for it to establish itself in the City's ca lendar of events; grow the brand, and; c r eate a reliable spectacular event which becomes a must-see event in the ca lendar ofthe nation. The Cape Town Carnival provides a significant contribution towards skills development, job-creation and community participation for Cape Town and the Western Cape. In turn, th is event contributes significantly to nation-building and social cohesion.
31
Lead-up events In the lead up to the Carnival a number of public events were held at various venues in and around Cape Town to which members of various communities were invited to participate. The Carnival roads how visited a number of communities, universities, shopping centres and public events and areas. These activations, which took place in the three months running up to the Carnival fulfilled a number of goals: 1. Outreach: It gave members of a communities who wo uld not normally attend the carnival, a foretaste of what the Carnival is about. 2. Recruitment: It gave a wide range of people a chance to audition for the Carnival and allowed a wide range of dancers an opportunity to audition. 3. Training: The chosen volunteers were required to participate in choreographed rehearsals. 3. Publicity: It promoted the Carnival and its ideals to the people of Cape Town and the surrounding areas.
January 1. LEAD DANCER AUDITIONS, 27 January 2011, Buchanan Studios 2. LEAD DANCER AUDITIONS, 28 January 2011, Kloof St Studios 3. ANIMAL REHEARSALS 30 January 2011, Sea Point
33
February 4. AWARENESS & RECRUITMENT, 8-9 February, UCT 5. HEART OUTDOOR BROADCAST, 14 February, Claremont 6. LEAD DANCER AUDITIONS, 17 February, Univ of Stellenbosch
7. JAZZ CONCERT WINELANDS, 26 February 2011 , Nelson's Creek 8. KIRSTEN BOSCH CONCERT, 27 January 2011 , Kirstenbosch.
March 9. LEAD DANCER BRIEFING 1 March , Costume Warehouse 10. LEAD DANCER AUDITIONS, 2 March , Univ of Stellenbosch 11. CARNIVAL PUBLICITY, 2 March , Harley-Davidson Club 12. LEAD DANCER REHEARSALS, 8 March, Costume Warehouse 13. VOLUNTEER BRIEFING, 10 March , Float Warehouse 14. SAMBA CONCERT, 11 March, V&A Waterfront 15. NIGHT VISION, 12 March 2011, Station Precinct 16. BRAZILIAN DANCERS , 17 March , 15 On Orange
Launch The 2011 Cape Town Carnival got off to a colourful, vibrant and sexy start when 150 guests were given a foretaste of the Carnival at a glittering rooftop function in the city centre. A group of puppet animals, designed by internationally renowned puppet maker, Roger Tit ley, accompanied by body painted performers from the Carnival fantasy world added spice to the event. Local drum sensation, Limited Edition Drum Corps thrilled guests with a dramatic performance. Speakers included Carniva l Trust Chairperson, Professor Rachel Jafta, Carnival CEO, Michael Worsnip, followed by Moleleki Ledimo of DAC and Cape Town Mayor, Dan Plato. All the speakers spoke of how the Carnival was working towards achieving soc ial cohesion, bringing diverse groups together and offering the city an opportunity to develop the Carnival into a major event for Cape Town, the Western Cape and South Africa . The event provided great photographic opportunities for the media and the Carn iva l received good local press coverage in the week after the launch.
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The Carnival Curtain Raiser - This is Now Petrol is unlikely to be a major part of our future. It is much more likely that we have perfected the use of more sustainab le resources for modes of travel. However, where we are now means that we are heavily reliant on petrol, to fuel our vehicles. Harley-Davidson represents some of the most spectacular of our present forms of motor transport. The Carnival had 150 of these amazing vehicles, some of which were painted and decorated, as the curtain raiser for the parade. The riders were from the Harley-Davidson Club of Cape Town, supported by Cape Town dealerships.
African Beginning The spirit of the carnival is about dreaming. To lead our dreams, we had a spectacular handmade Unicorn, made by the Exquisite Puppets, in conjunction with Crestway High School, in Retreat. The Carnival itself began dramatically, with a celebration of the continent which is the home of the entire human species. Mass drummers thrilled the crowds with a vibrant beat, while large animal puppets of various kinds, manoeuvred by people, took the place of a float. Gumboot dancers with miner's lights on their helmets added a touch of the traditional and uniquely South African, while drummers and performers from other African countries in national costume also added to the excitement. This pod featured community groups from Strand, Durbanville, Oceanview, Gugulethu, Nyanga and Central Cape Town. There were also drummers from Britain, Canada, Germany, Cameroon, Kenya, Zimbabwe, and also representing 6 different language groups in South Africa .
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Birds of a Feather This pod was a showcase of co lour, costumes and make -up. The pod made the aud ience think of the thousands of birds and other creatures this planet possesses. The idea of the pod was to demonstrate how fragile and precious all forms of life are and to ce lebrate the diversity of life. We dream of a future where all life is respected, protected and treasured. The float was a glorious multi-coloured bird. This pod featured community groups from Bridgetown, Hanover Park, Manenberg and Grabouw.
Ancient and Modern The Carnival celebrates both the old and the new, because we need to place value on the ancient, in order to va lue the present and the future. Here in the drama and movement of Indian dance, we celebrate one of the most ancient cultures on earth, and one w hich has had a dramatic impact on the life of our own co untry. The float for this pod was a giant sun. This group featured community groups from Rylands, Gatesville, Bridgetown and Claremont from the Vadhini Indian Arts Academy.
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Slice of Cape Town The float for this pod was a "slice of Cape Town" - showing the city as forever a fun-filled vibrant and integrated city. The performers danced the pantsula, which is a unique and proudly South African dance that emerged from the ghettoes in the 1950's. Even in the most difficult of circumstances, our people were able to dance and to laugh and to enjoy. It is a dance which is based in township life, celebrating both the struggles of the past and the energy of the future. It has proved to be highly adaptable and now has strong elements of Hip-Hop and Kwaito.lt is a wonderful example ofthe South African spirit. This pod featured the Jikeleza Dance Project and the Sentinel Intermediate school from Hangberg in Hout Bay.
Precious Oceans The seas and oceans are the key to our future as a planet. This pod was a riot of colour and ocean forms, with the performers using coloured ribbons for movement, colour and drama. The float was a giant multicoloured fi sh with co mpanions, jellyfish, coral and other shoals of fish on bicycles. This pod featured members of the United Reform Church youth brigade Kraaifontein and the Tafelberg Male choir from Bishop Lavis.
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World Without Borders Our world has many different cultures, traditions and peoples. Here we celebrated the diversity of culture in a blaze of oriental and belly-dancing, with their sCintillating rhythms and hypnotic movements. We dream of a future where the world's different cultures are preserved, respected and celebrated. The float for this pod was a wonderful sailing ship - with pennants and flags representing our diversity. This group featured the Aphrodite Belly Dancers, the Palace of the Winds and Feminine Divine community groups from Strandfontein, Crawford, Gatesville, Vanguard Estate, Parow North and Tokai.
Marching in Time Our efforts involving environmental protection, peace, education, hea lth etc all require us to work together in a disciplined way, working together to make a better world. The colourfully dressed drum majorettes of this pod demonstrated all of these elements, discipline, timing and group coordination. The float for this pod was an extraordinary mach ine. This group featured the Avondale Primary school, Atlantis Secondary School, Robinvale Secondary School, Protea Secondary School (in Atlantis), and the Meulenhof Primary School (in Philadelphia).
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Free to be You and Me This pod was a celebration of the extraordinary freedoms which the Constitution of our country enables. Drawn from members of the Lesbian, Gay, Bisexual and Transgender communities, this pod symbolised that whereas we come from a history of dividing people into black and white, we are now able to enjoy and celebrate diversity. The float for this pod was a huge staircase, providing space for people to strut their stuff.
Energy The future of the planet depends on the way in which the human species uses its energy resources. This pod, with multi-coloured fibre optic head-dresses on the show performers and using electro-luminous lighting as a major feature of the costumes, focused on energy and energy resources. The pod moved to the beat of high energy, futuristic music. The float for this pod was a Cityscape with a futuristic flying machine. This pod featured Likhwezi Arts project, Imbewu Dance Theatre and Bulumko High School from Nyanga, Langa, Gugulethu and Khayelitsha .
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Dance Then Reminiscent of the connections which this Carnival has to Brazil and the exhilarating rhythm of the Samba, this pod provided a spectacle of colour, movement and dance. The float paid homage to other great world Carnivals from which the Cape Town Carnival has drawn inspiration: Rio; New Orleans; Trinidad and Tobago; Nice and Nigeria. Here, we saluted them all! The pod had as its theme, the heart, sign ifying compassion, feeling and understanding. The future requires that we li sten with our hearts and that we maximise compassion and understanding. This group featured Faldela's Academy of Dance, the Gleemoor Dance group and Afri' Divas from Retreat, Athlone, Mitchell's Plain and Tyger Valley.
Party Time At the end of the Carnival, Long Street was opened up, the barricades taken down and a giant party, led by DJ Fresh, took place on the street. Our future was something to celebrate. Stilt-walkers and other performers called the crowd s to come onto the street and they partied till midnight.
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19
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Publicity The media and pUblicity campaign included masks, cupcakes, fridge magnets, posters, web banners, newspaper adverts, pamphlets, invitations, outdoor signage and banners, printed T-sh irts, DVD covers, folders, pamphlets to ratepayers, road closure announcements a mask competitio n and an extensive radio campaign. The main sponsors received good coverage for their brands and their logos were included in the following places: Posters around the city (500) Publicity masks distributed at public transport areas around the city (5000) Newspaper adverts in the English and Afrikaans press in the mainstream and community newspapers Banners at activations, auditions, rehearsals and the media launch Invitations to the Carnival VIP pamphlets at the launch and main Carnival Banners in the VIP area Leaflets to ratepayers about road closures MEDIA VALUE FOR THE CARNIVAL The 20 11 Carnival was cons id ered a major media success in that it received positively disproportionate media coverage during the build-up, the actua l event and the post-event. It must be noted that the event was held during a very busy media time w ith major events every weekend in March. Most notably the world 's biggest cycle race and the southern hemisphere's biggest jazz festival - both are long standing international events. Notwithstanding the above the media responded very positively to the Carnival in that 1/ 3 of the media value came in the after of the event. Total value of media coverage: R5.3 million (excluding MNet's 30-minute programme) Media Partners: Med ia 24 Newspapers; Heart 104.9FM radio; MNet and DSTV.
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PRINT MEDIA Daily papers a. The media team ensured that there was a steady flow of newsworthy items for the media. b. Photo opportu nities were arranged according to media deadlines. c. Different sto ri es were given as exclusives or early notice to different media at different times. d. Story ang les we re adapted for various media around a story in order to ensure as wide as possible media coverage of events and activations. Community Papers a. Despite the fact that, in general, the community papers did not attend media events or activations, the pictures and stories were then prepared and sent to the various media. This strategy proved very successful as the stories were alm ost always used by the journalists. Consequently there was very hi gh profile given to the Carnival in the comm unity press. Broadcast Media 1. Radio a. Predominantly on Heart radio during the build up, but as the carnival drew nearer various stations regularly used newsclips. b. Interviews were arranged on various radio stations (including Heart FM, SAFM, KFM, Cape Talk, CCFM and Voice of the Cape) and this proved very successful. Television a. The official post-event vid eo was broadcast on the following channels: Broadcast on MNet 24 April at 16hOO; Mzansi 27 April at 20hOO; Magic 28 April at 15hOO. b. The SABC covered the Carniva l in the main news bulletins post the event in both English and Afrikaans news: Broadcast on SABC 2 March 20 at 19hOO and SABC 3 March 20 at 20hOO. c. There was extensive coverage from e.tv in the build up to the event, with the e.tv news team covering the event in English and Afrikaans news. Broadcast on e.tv March 10 at 13hOO, 19hOO and 22hOO. E-Nuus March 10 throughout the day.
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The future After an extremely successful Cape Town Carnival in 2011, the trustees have decided to hold the Carnival in Long Street again next year and to once again stage it during the third weekend of March ie on 17 March 2012. The route will be extended to accommodate the anticipated growth in crowd numbers and instead of starting at the corner of Long and Hout Streets it will begin at the Cape Town Convention Centre (the corner of Long and Coen Steytler) which will increase the Carnival Corridor from 800m to l.4km Due to huge amount of fans in 2011 it has been decided to add extra overflow and afterparty areas, and in addition to Greenmarket Square there will be fanparks at Thibault Square and in the parking area opposite the SARS building in Lower Long St. In the build-up to carnival there will be more activations and events to increase enthusiasm and awareness of the Carnival and we are also planning to publish a Carnival News newspaper to keep communities up to date with what is happening with the carniva l, the floats and costumes. The long-term goal of the Carnival would be to grow the Carnival into a world-class event that will be included on the international Carnival calendar and attract a number of international and local visitors to Cape Town to experience the Carnival weekend. The construction of Carnival World would provide a number of job opportunities and also be a tourist attraction for international and local visitors. The theme of the 2011 Carnival was "Dream the Future". We have a dream. It is big, it is glamorous and we want to hundreds of thousands of people to be part of it. It is a dream in which the participating communities and Cape Town as a who le grow together and shine.