Carnival... beyond the glitz of the parade

 

Carnival... beyond the glitz of the parade celebrate photography as an artform, whilst contributing to the documentation of the cultural heritage of the black African diaspora entwined with the European. 

 

The photographs are two-dimensional markers of Carnival’s social significance and historical legacy, which has evolved over centuries from the African village and West Indian plantation to the streets of the UK in the 21st century. The fusion of African masquerade traditions and the Catholic Church’s observance of abstinence during Lent laid the foundation for pre-Lenten Carnival celebrations. These images draw on African ancestral traditions, focusing particularly on music, dance, adornment, and expressions of sexuality.

 

The human body is central to these images, with the black body serving as the primary subject and juxtaposed against white bodies. Although the connection to pre-Lenten celebrations no longer prevails in Britain, the country’s climate has influenced the scheduling of Carnival during the summer, in hopes of warmer weather.

 

Spanning 25 years in 2026 this photographic project plays a vital role in celebrating black presence and the migration of communities from the Caribbean and Africa to the United Kingdom. Carnival is a vital space where people come together to dance, drink and socialise.

 

The images captured by Forbes extend beyond documentation of Carnival, immersing viewers directly into the experience. They position the audience amidst the vibrant activity, simulating the sensation of navigating through dense crowds and manoeuvring between sound systems. Forbes presents images that evoke familiar scenes for those who have attended such events, yet these moments are often left unrecorded by others. 

 

The compositions are populated with fragmented body parts, caught in mid-motion, encapsulating the essence of the moment. This approach aligns with the concept of ‘decisive moment’ photography, popularised by Henri Cartier-Bresson, where the photographer captures a fleeting, yet significant moment in time. The influences of renowned photographers such as Nick Waplington, Martin Parr, Don McCullin, and James Nachtwey are evident in Forbes’ work. However, he has developed a distinctive subject matter and style that aligns with his broader artistic practice and narrative.

 

Central to these images is the drawing on African masquerade traditions, emphasising music, dance, adornment, and sexuality, thereby, the body becomes the focal point of these photographs. 

 

The title of his work, Carnival… beyond the Glitz of the Parade, underscores Forbes’ awareness of the extensive array of visual images that dominate Carnival. Traditional images of carnival parades and opulent costumes are in abundance, often emphasising the superficial spectacle. By choosing a title that explicitly references the limitations of such portrayals, Forbes positions his project as a counterpoint to conventional carnival imagery. His focus shifts from the ostentatious parade itself to the more nuanced, immersive experiences that occur around the sound system, inviting viewers to reconsider and recontextualise the carnival experience.

 

Both historically and at contemporary events, Carnival has been closely linked to the consumption of alcohol and drugs, a reality often underrepresented in mainstream portrayals. Forbes’ photographic work acknowledges this aspect, not to sensationalise it, but to emphasise its normalised status within carnival culture. Indeed, the authorities in the United Kingdom and elsewhere frequently adopt a permissive approach toward the sale and consumption of illicit substances during these events. In fact, it would seem odd and an untrue reflection of Carnival if images of alcohol and drug use were excluded from this body of work. Rather than passing judgment on the morality or legality of such practices, Forbes focuses on how their inclusion contributes to a broader visual narrative, prompting viewers to consider whether these depictions add new insights to the wider visual representation of Carnival.

 

Historically, this culture of consumption can be traced to Carnival’s origins as a form of escapism, initially offering a reprieve from the anticipated austerity of Lent and later serving as a temporary release from the harsh realities of slavery and its lasting implications. By situating the use of drugs and alcohol within this broader historical context, Forbes’ images highlight how these elements intersect with music, dance, and a collective desire for liberation. 

 

The term ‘black British’ is a relative new lexicon in the English language, but is a fixed identity for an increasing number of the British population, which should be embraced and celebrated, thereby allowing ownership and a commitment to a shared future, which these images attest to.