As a tradition with roots throughout Africa, it goes without saying that there are thousands of carnivals across the continent. Representing an example of a complete cultural return, Carnival found its way back to Africa after generations and generations of cultural migration. Occurring throughout the year, these uniquely African versions celebrate various regional cultures. Based on where you are on the continent, the features and form of an African Carnival can take on completely different elements; Calabar Carnival in Nigeria operates completely differently from the festivities we see of Carnaval International de Victoria in the Seychelle Islands. It is important not to see Carnival across Africa as a uniform experience, as the different variations brought about by national differences must be honoured.
Calabar Carnival, Nigeria
Beginning in 2004, Calabar Carnival in Nigeria advertises itself as the biggest street party on the continent. Originally devised as the middle point between a celebration of cultural heritage and tourism, Calabar Carnival has grown to become an internationally recognised event. Lasting all of December, the carnival has roots in Christian conceptions of the pre-lent period, borrowing heavily from Trinidad Carnival. This is a common theme amongst carnivals around the world, with Caribbean Carnival signifying the season directly preceding Easter. Calabar Carnival is unique in that it is made up of several different celebrations under one umbrella, with fashion shows, pageants, parties and even regattas all present during the month-long event. Along with the festival’s commitment to a unifying theme every single year, such as Africanism in 2018, Calabar Carnival has positioned itself as Nigeria’s true carnival experience.
Quelimane Carnival, Mozambique
Quelimane Carnival takes its name from the region in Mozambique of the same title; the events host over 50,000 revellers over two weekends, in either February or March. This Carnival takes on a different element to that of the celebrations seen in west Africa, taking direct influence from both Portuguese and Brazilian traditions. Though existing in some form prior to its official recognition as a state holiday, Quelimane Carnival began in earnest in 1990 in Quelimane city. Often called the “Carnivals of Little Brazil”, Quelimane shares numerous elements with the carnivals of Rio and Sao Paulo, mostly owing to the lasting cultural effects of Portuguese colonisation. Many of the celebrations now seen as commonplace throughout the festival revolve around colonisation as well, with the traditional masked headwear coming about originally as a means to protest against and parody the Portuguese.
Carnaval International de Victoria, Seychelles
Now known as the Carnaval International de Victoria, Seychelles Carnival was originally conceived as a three- day street festival. Taking place in April every year, it is not to be confused with the island's yearly creole festival, which happens in October. It is a relatively young event, having only truly taken form over the last 15 years or so. Due to its location and colonial past, Seychelles Carnival is made up of a number of competing cultural elements. Creole culture forms the backbone of the Carnaval, with the Seychelle Islands fully embracing their unique mix of British, African and East Indian heritages throughout the festival. Immigrant cultures also play a significant role throughout Carnaval, with Chinese and Arab peoples being represented in full as well. The content of Carnaval takes on forms seen throughout the Caribbean, following a similar structure of partying and live music, accentuated by area-specific cultural events. The key difference between Seychelles Carnaval and other similar festivals is the focus on Parade Floats and individual Carnaval bands. International carnival companies routinely come to the island to rival local bands to be crowned the best float.
Cape Town Carnival & Kaapse Klopse, South Africa
When discussing Cape Town’s Carnival, it is important to make the distinction between the traditional minstrel carnival “Kaapse Klopse” and the newer “Cape Town Street Carnival”. Kaapse Klopse represents the long-standing tradition of Minstrel Carnival, which dates back to the mid-19th century. Originally deriving as a response to the Dutch tradition of celebrating the new year on January 1st, enslaved people co-opted the celebration. With one day allowed off on January 2nd, the enslaved population of South Africa used it as an opportunity to celebrate their own creole culture, as well as to mock their colonial masters, hence the carnival’s minstrel show form. In some respects, there are numerous similarities between Kaapse Klopse and Trinidadian “Ole Mas” celebrations.
In the modern-day, Cape Town Carnival is far more in line with other contemporary carnival celebrations seen throughout the world. Focusing on the procession of floats and bands through the centre of Cape Town, the carnival serves more as a revelry of South African culture than a vehicle for political commentary. Throughout the festival it is common to hear all forms of music, from ampiano to Afrobeats, showcasing the festival’s amorphous quality. Youth culture is at the heart of Cape Town Carnival - live performances, fashion walks and dance shows are notable fixtures of the event’s preluding festivities.
Across Africa, the spirit of Carnival celebrations is well and truly alive, in all their varied and beautiful forms. The festivals discussed share several similarities while maintaining their own localised flair. For instance, Seychelles Carnaval and Cape Town Carnival both feature floats but their overall presentation and cultural activity are completely different from one another. The greatest point to take away from these examples: African carnivals are not a monolithic cultural tradition, but rather many wonderful variations of a similar structure, all deriving from similar origins. To see African Carnival as a uniform experience across the continent is to rob these celebrations of their true selling point, their unique variety.
