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Essay Samples on Carnival

Carnival as a form of popular performance.

The practice of carnival, no matter where or when you find it, is richly steeped in tradition and ritualistic practices.  To make clear the juxtaposition of practices within this article, Burke discusses various popular performance practices that have manifested in carnival historically and cross culturally....

Venice Carnival And Mask Tradition'S Impact On Culture

The city of Venice in general is widely acclaimed due to it’s frequent appearances in art, music, theatre and literature, both new and old. It’s world renowned association with fancy dress or ‘masquerade ball’ masks is undeniable. From the city’s stunning architecture, river boats and...

• Cultural Identity

The Origin Of Carnivals And How They Developed Worldwide Throughout The Centuries

Introduction In ancient Italy and Greece before the emergence of Christianity, people were called pagans and these pagans celebrated the end of winter and spring solstices and autumn and spring equinoxes. (Blešić et al., 2014) They continued these celebrations even after the birth of Christianity....

• Ancient Civilizations

The Influence Of The Montreal Winter Carnival On The Canadian Identity

Amid the second Industrial revolution, the Montreal Winter Carnivals were a pivotal point in history for establishing Canada’s national identity. The winter carnivals took place in the years 1883, 1884, 1885, 1887, and 1889 and were six-day long events held during the last week of...

Why I Respect My Saint Lucian Culture

My Culture as a Saint Lucian is a combination of English, French, and African heritage. Although the main language of the island is English, Créole, which is a form of French patois remains a secondary language. Saint Lucia had a long past under both French...

• Culture and Communication

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Something Wicked This Way Comes: Depiction of the Horrific Carnival

Something Wicked This Way Comes, is about to enduring kids named Will and JIm, who were born minutes apart and happen to be best friends. They come upon an evil spirit from another world in which they have to get themselves out from. They also...

• Something Wicked This Way Comes

Bakhtin's Concept of Carnival and Carnivalesque in the Film "The Border"

Introduction Mikhail Bakhtin, a Russian philosopher who wrote on a variety of subjects, including his famous work Rabelais and his World, on the French Renaissance writer François Rabelais, where he discusses carnivalesque and Carnival. By definition, according to Bakhtin, it is the period of public...

• Literature Review

Best topics on Carnival

1. Carnival as a Form of Popular Performance

2. Venice Carnival And Mask Tradition’S Impact On Culture

3. The Origin Of Carnivals And How They Developed Worldwide Throughout The Centuries

4. The Influence Of The Montreal Winter Carnival On The Canadian Identity

5. Why I Respect My Saint Lucian Culture

6. Something Wicked This Way Comes: Depiction of the Horrific Carnival

7. Bakhtin’s Concept of Carnival and Carnivalesque in the Film “The Border”

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• General English
• Magazine zone

Carnival is an annual festival celebrated in many different ways in many countries around the world. Some of the world's most famous carnivals are held in Rio de Janeiro, Brazil, New Orleans, USA, and Venice, Italy. Find out what happens in these and one other carnival you may not have heard of.

Do the preparation task first. Then read the article and do the exercises.

Preparation

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What's carnival all about?

Carnival is a festival that happens over a few days, usually just before Lent, in February or March. Because traditionally many people go on a fast during Lent, giving up meat, sugar or other foods and drink, carnival is an opportunity to enjoy these treats for the last time. It is a time to celebrate and party, with music and dancing in the streets. Some people believe that carnival is actually older than the Christian period of Lent, and that it started as the Roman festival of Saturnalia.

New Orleans

One of the most famous carnivals in the world is in New Orleans, USA. It is called Mardi Gras, which is French for 'Fat Tuesday', the day when people would traditionally eat up all the fat before starting the Lent fast. The celebration in New Orleans lasts around two weeks, with a parade every day. Groups of people, called 'krewes', dress up in special costumes and ride on decorated floats. They throw small gifts to the people watching, especially strings of beads. There are also many balls, especially masked balls. Mardi Gras is very popular with tourists, and it is estimated that well over a million people visit every year to join the celebrations.

Rio de Janeiro

The carnival in Rio de Janeiro, Brazil, is considered the biggest in the world, with around two million people celebrating on the streets each day. Rio Carnival is famous for its samba music and for the amazing costumes and floats. In 1984, the government decided to give the carnival a special stadium, called the Sambadrome, where people could buy tickets to go and see the parades. However, there are still plenty of street parties and parades happening all over the city.

The parades are a kind of competition and the samba 'schools', or groups, are judged on their costumes, dancing, floats and music. Some samba schools spend millions of dollars on their preparations, but it is estimated that carnival makes over $40 million from ticket sales and advertising.

Carnival in Venice is a much quieter celebration, but it is still very famous, mainly for the beautiful masks that people wear. Traditionally, the masks are made and decorated by hand, with gold, jewels and feathers. There is a competition for the most beautiful mask, and there are many masked balls and other celebrations.

In St Mark's Square, there is an open-air theatre where you can watch traditional plays, and there are also classical music concerts. Because the streets are very narrow, there are candlelit parades on boats through the canals of the city. Watching all the people dressed in masks and costumes wandering through the city makes you feel as if you have stepped back in time to the 18th century.

The carnival in Binche, Belgium, is not as famous as some of the others, but it may have the longest history. It dates back to the 14th century. Up to 1,000 men and boys, called 'Gilles', dress up in masks, costumes and wooden shoes. They also wear very tall feather hats, up to 90cm tall. The Gilles dance through the streets and throw oranges at the crowd. This can sometimes cause accidents and break windows, but it is supposed to be good luck if you are hit by an orange.

All over the world, carnival is a time to celebrate and have a good time with friends and family. Have a great carnival, if you're celebrating this year!

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Do you celebrate carnival in your country? What happens?

Language level

I would show my happiness and sadness at the same time.I would be happy on this kind of celebration for no such specific reason, but i would certainly feel bad for sentiment animals who get hurted knowingly or unknowingly, intentionally or unintentionally, in the name of festivals, that come every week, every month, with a little joy among us, but with a lot of man-made issues for the environment. We should be more happy on planting a tree than on such unnecessary stuffs. Signing off:)

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I don't think we have that many carnivals around but the one that's annually carried out is the National Day parade which takes place on 31st August.

there is no such kind of festival in my country. no gathering and no celebration like this. I wish It will be a festival like in your country but it is impossible here.

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Cruise Lines

Carnival’s cruise industry recovery: challenges, progress, and optimistic outlook.

Embarking on the adventure to delve into the recovery of Carnival’s Cruise Industry, I find myself navigating through a vast ocean of obstacles, advancements, and a hopeful perspective.

Despite the turbulent waves caused by the COVID-19 pandemic, Carnival Corporation has shown signs of progress, with a nearly 50% increase in revenue in the second quarter of 2022. Occupancy rates are improving, ship capacity is back to 91%, and booking volumes are at their highest since the pandemic began.

Join me as we navigate the path to a strong and sustainable recovery in the cruise industry.

Table of Contents

Key Takeaways

• Adapting to new protocols and navigating through variant waves are major challenges in the cruise industry recovery.
• Despite significant financial losses, Carnival Corporation has seen progress in occupancy rates and booking volumes, with 91% of ship capacity back sailing with passengers and booking volumes reaching the highest levels since the start of the pandemic.
• Increasing vaccination rates among travelers have had a positive impact on Carnival’s recovery, restoring confidence to travel and cruise and leading to a surge in booking volumes.
• Strategic planning, including navigating changing market dynamics and overcoming challenges such as new protocols and high fuel prices, is crucial for a strong and sustainable cruise industry recovery.

Challenges in the Cruise Industry Recovery

I’m facing challenges in the cruise industry recovery, such as new protocols and variant waves, high fuel prices, and difficulty returning to pre-pandemic levels.

These operational challenges have required us to adapt and implement new protocols to ensure the safety of our passengers and crew.

Additionally, the fluctuating fuel prices have put a strain on our financial performance.

Despite these challenges, we remain optimistic and are actively working towards overcoming them.

As part of industry-wide recovery initiatives, we are focusing on increasing our fleet capacity and transferring ships to meet the growing demand.

We have also seen progress in our booking volumes, with the second quarter of 2022 showing nearly double the volumes compared to the first quarter.

While there is still work to be done, we are confident in the recovery of the cruise industry and our ability to navigate these challenges.

Carnival’s Financial Performance During Recovery

Despite the challenges faced, there has been a significant increase in revenue for Carnival Corporation during the recovery period. Carnival’s financial challenges were evident, with a net loss of $1.8 billion for the three months ended May 31 and total losses of over $3.7 billion in the past six months.

However, there is hopeful progress as revenue increased nearly 50% in the second quarter of 2022. To overcome these financial challenges, Carnival has implemented various financial recovery strategies. One strategy is the expansion of their fleet and the transfer of three ships from the Costa Cruises brand to Carnival Cruise Line. Additionally, newbuilds like the Carnival Celebration and Carnival Jubilee will increase capacity to accommodate the growing demand.

These strategies, coupled with the highest booking volumes since the start of the pandemic, show promising signs for Carnival’s financial recovery.

Occupancy Rates and Sailing Capacity Updates

With 91% of ship capacity back sailing with passengers, occupancy rates across all ships and fleets reached 69% in the most recent quarter. This is a significant improvement compared to the earlier stages of the pandemic when many ships were docked and empty.

However, the cruise industry still faces challenges in terms of sailing capacity. The ongoing protocols and variant waves continue to impact the industry’s ability to operate at full capacity.

Despite these challenges, there are optimistic occupancy rate projections for the future. Carnival Cruise Line expects occupancy rates to approach 110% in the third quarter, indicating a strong rebound in demand.

As the industry continues to navigate through these sailing capacity challenges, it is encouraging to see progress and a positive outlook for the occupancy rates in the coming months.

Fleet Expansion and Ship Transfers for Recovery

The fleet expansion and ship transfers aim to accommodate the growing demand in the cruise industry. Carnival Corporation is taking proactive measures to meet the increasing passenger demands by transferring three ships from its Costa Cruises brand to Carnival Cruise Line.

Additionally, the introduction of newbuilds, Carnival Celebration and Carnival Jubilee, will further increase the capacity of the fleet. These strategic moves highlight the company’s commitment to recovery and meeting the surging demand in the market.

As the industry shows signs of progress, with the highest booking volumes since the start of the pandemic and a significant increase in revenue in the second quarter of 2022, the fleet expansion and ship transfers will play a crucial role in Carnival’s optimistic outlook for the future.

With these initiatives in place, the company is well-positioned to cater to the growing number of cruise enthusiasts and regain its pre-pandemic levels of success.

Booking Volumes and Recovery Progress

I’m seeing promising signs of recovery in the cruise industry. The highest booking volumes since the start of the pandemic and a significant increase in revenue in the second quarter of 2022 indicate a positive shift in the industry’s outlook.

Booking trends have shown a remarkable improvement. Booking volumes in the second quarter were nearly double that of the first quarter. This surge in bookings reflects growing consumer confidence and a strong desire to experience the joy of cruising once again. It’s an encouraging sign for the industry’s recovery.

As we continue to navigate through these challenging times, it’s crucial to monitor these booking trends and adapt our strategies accordingly. By staying informed and data-driven, we can ensure a successful rebound for the cruise industry.

Overcoming New Protocols and Variant Waves

Navigating through the challenges of implementing new protocols and mitigating the impact of variant waves requires careful planning and adaptability. As the cruise industry continues to recover, Carnival Corporation is focused on overcoming these obstacles to ensure a safe and enjoyable experience for passengers.

Addressing High Fuel Prices and Inflation

Addressing high fuel prices and inflation requires careful financial planning and proactive measures to mitigate their impact on the cruise industry.

As fuel costs continue to rise, it becomes imperative for cruise lines like Carnival Corporation to develop strategies that can help offset these expenses. One approach that Carnival has taken is to invest in more fuel-efficient technologies and alternative energy sources. By incorporating these innovations into their fleet, they can reduce their reliance on traditional fuels and lower their overall fuel consumption.

Additionally, Carnival has implemented price adjustments and operational efficiencies to help mitigate the effects of inflation. These measures not only protect the company’s bottom line but also ensure that cruise vacations remain affordable for passengers.

The impact of high fuel prices and inflation on the cruise industry is significant, as it affects the overall cost of operations and ultimately the prices that passengers pay for their trips. By actively addressing these challenges, Carnival is setting an example for the industry and demonstrating its commitment to sustainability and customer satisfaction.

Returning to Pre-Pandemic Levels: A Difficult Journey

Returning to pre-pandemic levels has been a challenging journey for the cruise industry. It requires adapting to new protocols and navigating through variant waves. The difficulties faced by the industry are evident in the financial performance of Carnival Corporation. With a net loss of $1.8 billion for the three months ended May 31 and total losses of over $3.7 billion in the past six months, the road ahead is indeed long.

However, there is some progress to be noted. Occupancy rates are slowly increasing, with 91% of Carnival Corporation’s ship capacity back sailing with passengers. Booking volumes are also on the rise, reaching the highest levels since the start of the pandemic.

While there are challenges to overcome, there are signs of progress and an optimistic outlook for the future of the cruise industry.

Optimistic Outlook for Carnival’s Recovery

After facing numerous challenges, Carnival Corporation’s recovery timeline is showing signs of progress and an optimistic outlook. One key factor impacting this recovery is the increasing vaccination rates among travelers. As more individuals get vaccinated, the confidence to travel and cruise is being restored.

This has resulted in a surge in booking volumes, with the second quarter of 2022 seeing nearly double the booking volumes compared to the first quarter. Additionally, Carnival Cruise Line expects occupancy rates to approach 110% in the third quarter, indicating a strong demand for cruising.

The fleet expansion and ship transfers, such as the addition of newbuilds like the Carnival Celebration and Carnival Jubilee, are aimed at accommodating this growing demand.

With vaccination rates playing a crucial role, Carnival’s recovery is on a positive trajectory.

The Path to a Strong and Sustainable Cruise Industry Recovery

Navigating the path to a strong and sustainable cruise industry recovery requires strategic planning and adapting to changing market dynamics. Overcoming challenges such as new protocols, variant waves, high fuel prices, and inflation is crucial.

Carnival Corporation’s financial performance reflects the industry’s struggles, with a net loss of $1.8 billion for the three months ended May 31 and total losses exceeding $3.7 billion in the past six months. However, there are signs of progress.

Occupancy rates are gradually increasing, with 91% of Carnival Corporation’s ship capacity back sailing with passengers and a 50% revenue increase in the second quarter of 2022. Fleet expansion and ship transfers, along with the highest booking volumes since the start of the pandemic, indicate growing demand.

Frequently Asked Questions

What are some of the specific challenges faced by the cruise industry in its recovery.

Some specific challenges faced by the cruise industry in its recovery include implementing new protocols, dealing with variant waves, high fuel prices, inflation, and the difficulty of returning to pre-pandemic levels.

How Has Carnival Corporation’s Financial Performance Been Affected During the Recovery Period?

Carnival Corporation’s financial performance has been challenged during the recovery period, with a net loss of $1.8 billion and total losses of over $3.7 billion. However, there is progress with a 50% revenue increase in the second quarter of 2022.

What Is the Current Occupancy Rate for Carnival Corporation’s Ships and What Are Their Expectations for the Third Quarter?

Currently, Carnival Corporation’s ships have an occupancy rate of 69% across all fleets. However, they expect occupancy to approach 110% in the third quarter, indicating optimistic expectations for increased demand and recovery in the cruise industry.

Can You Provide Some Details on the Fleet Expansion Plans and Ship Transfers That Carnival Corporation Is Undertaking?

Carnival Corporation is undertaking fleet expansion plans and ship transfers to accommodate growing demand. The company is moving three ships from Costa Cruises to Carnival Cruise Line and adding newbuilds like Carnival Celebration and Carnival Jubilee to increase capacity.

How Have Booking Volumes Been Progressing for Carnival Corporation and What Does It Indicate About the Recovery of the Cruise Industry?

Booking volumes for Carnival Corporation have been progressing steadily, indicating positive progress in the recovery of the cruise industry. The company experienced its highest booking volumes since the start of the pandemic, with volumes in Q2 nearly double that of Q1.

Meet Asra, a talented and adventurous writer who infuses her passion for exploration into every word she writes. Asra’s love for storytelling and her insatiable curiosity about the world make her an invaluable asset to the Voyager Info team.

From a young age, Asra was drawn to the power of words and their ability to transport readers to far-off lands and magical realms. Her fascination with travel and cultures from around the globe fueled her desire to become a travel writer, and she set out on a journey to turn her dreams into reality.

Carnival Cruise Line: Transformative Growth and Enhanced Experiences

Coast Guard’s Recommendations for Cruise Ship Medical Evacuations

Meet Asra, a talented and adventurous writer who infuses her passion for exploration into every word she writes. Asra’s love for storytelling and her insatiable curiosity about the world make her an invaluable asset to the Voyager Info team. From a young age, Asra was drawn to the power of words and their ability to transport readers to far-off lands and magical realms. Her fascination with travel and cultures from around the globe fueled her desire to become a travel writer, and she set out on a journey to turn her dreams into reality.

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Viking cruises: leading the luxury travel industry.

As an enthusiastic world traveler, I constantly search for opulent experiences that satisfy my urge to discover new places.

And when it comes to leading the luxury travel industry, Viking Cruises is a name that consistently stands out. With their award-winning reputation, they have set the standard for both river and ocean cruises.

From being named the Best Luxury River Cruise Company to receiving accolades for their exceptional contributions to the industry, Viking Cruises continues to impress.

Join me as we explore the world in comfort and style with Viking Cruises.

• Viking Cruises has received numerous awards and recognition for its luxury river and ocean cruises, including being named the Best Luxury River Cruise Company multiple times.
• The company is committed to providing exceptional comfort and exploration experiences for its guests, and this mission resonates with both travelers and experts in the luxury travel industry.
• Viking Cruises has experienced significant growth and development, celebrating its 25th anniversary and achieving record-breaking bookings. The company has also expanded its fleet with the addition of 17 new ships, including eight Viking Longships on European rivers and vessels on the Mekong, Nile, and Mississippi rivers.
• Viking Cruises’ success and impact in the luxury travel industry are reinforced by its exceptional contributions, fleet expansion, and new ship launches. The company continues to be a leading choice for luxury travel experiences.

Viking Cruises’ Award-Winning Reputation

I’m proud to say that Viking Cruises has been awarded Best Luxury River Cruise Company eight times, solidifying our reputation as a leader in the luxury travel industry.

This recognition speaks to our industry influence and our commitment to customer satisfaction. Viking Cruises has consistently been recognized for our exceptional contributions to the luxury travel industry, receiving accolades from esteemed sources such as Luxury Travel Advisor and Food & Wine.

As Chairman of Viking Cruises, I am delighted to see our mission of exploring the world in comfort resonating with both our guests and experts in the industry.

Our growth and recent developments, including our 25th anniversary celebration and the addition of 17 new ships, further contribute to our impact on the luxury travel industry.

Viking Cruises continues to be the leading choice for those seeking unforgettable luxury travel experiences.

Setting the Standard in Luxury River and Ocean Cruises

Setting the standard in river and ocean cruises is a proud achievement for any company.

Viking Cruises has not only achieved this, but they have also set a new benchmark for luxury travel experiences. With their innovative approach and unparalleled customer service, Viking Cruises has transformed the cruise industry.

They have redefined luxury by offering unique and immersive experiences that cater to the discerning traveler. From their state-of-the-art ships to their carefully crafted itineraries, every aspect of a Viking cruise is designed to provide the utmost comfort and exploration.

Their commitment to excellence is evident in the numerous awards and accolades they have received. Viking Cruises continues to lead the way in luxury river and ocean cruises, making them the top choice for travelers seeking extraordinary experiences.

Consistent Excellence: Viking Cruises’ Best Luxury River Cruise Company Award

Receiving the Best Luxury River Cruise Company award for the eighth time is a testament to the consistent excellence of Viking Cruises. This recognition highlights Viking Cruises’ commitment to exceptional service and comfort, solidifying their impact on the luxury travel market.

Viking Cruises has proven time and again that they are dedicated to providing the utmost comfort and exploration to their guests. Chairman Torstein Hagen expresses pride in the recognition, as it resonates with both guests and experts in the luxury travel industry.

With their recent growth and developments, including their 25th anniversary celebration and the addition of 17 new ships, Viking Cruises continues to expand their influence. Their fleet expansion and new ship launches contribute to their status as a leading choice for luxury travel experiences.

Recognized for Exceptional Contributions to Luxury Travel

Recognized for my exceptional contributions to the world of luxury travel, I am proud to have made a lasting impact on the industry. Viking Cruises has not only established itself as a leader in luxury river and ocean voyages but has also taken significant initiatives towards sustainable travel and customer satisfaction.

In terms of sustainable travel, Viking Cruises has implemented various practices to minimize its environmental footprint. The company has invested in energy-efficient engines and onboard technologies to reduce fuel consumption and emissions. Additionally, Viking Cruises has partnered with local communities to support cultural preservation and conservation efforts in the destinations it visits.

To ensure customer satisfaction, Viking Cruises has focused on providing exceptional experiences and personalized service. The company’s commitment to comfort and exploration is evident in its luxurious accommodations and curated itineraries. Viking Cruises also values feedback from its guests, constantly striving to improve its offerings based on customer preferences and suggestions.

Through its impact on sustainable travel and dedication to customer satisfaction, Viking Cruises continues to set the standard in the luxury travel industry.

A Culinary Delight: Viking Cruises Named Best Cruise Line by Food & Wine

As a lover of fine dining, being named Best Cruise Line by Food & Wine is an exciting recognition for the incredible culinary experiences offered by Viking Cruises.

This accolade showcases the commitment of Viking Cruises to providing exceptional food and beverage options to its guests. The luxury travel industry is currently witnessing a growing trend towards culinary experiences, where travelers seek out unique and exquisite dining opportunities during their journeys.

Viking Cruises has embraced this trend by offering a wide range of gourmet dining options, including specialty restaurants, farm-to-table experiences, and wine tastings. The cruise line’s dedication to culinary excellence has resonated with travelers, making it a leading choice for those seeking luxurious and unforgettable dining experiences while exploring the world.

Viking Cruises’ recognition as Best Cruise Line by Food & Wine further solidifies its position as a pioneer in luxury travel trends.

Health and Wellness: Best River Cruise Line According to Women’s Health

Being named the Best River Cruise Line by Women’s Health is a testament to the commitment to health and wellness that resonates with travelers. Viking Cruises understands the importance of prioritizing the well-being of its guests and has implemented various health and wellness benefits on its cruises.

From nutritious dining options to onboard fitness facilities, Viking Cruises ensures that travelers have access to resources that support their physical and mental well-being. Customer testimonials further reinforce the positive impact of these initiatives, with guests praising the cruise line for promoting a healthy lifestyle and providing opportunities for relaxation and rejuvenation.

Celebrating 25 Years of Success and Unprecedented Performance

I’m proud to celebrate 25 years of success and unprecedented performance in the cruise industry.

Impact on sustainable tourism: Viking Cruises has made a significant impact on sustainable tourism with its commitment to environmental responsibility. From implementing energy-efficient technologies on its ships to reducing single-use plastics, Viking Cruises is leading the way in sustainable cruising.

Innovations in onboard amenities: Viking Cruises has revolutionized the cruise industry with its innovative onboard amenities. From spacious staterooms with verandas to world-class dining options and luxurious spa facilities, Viking Cruises ensures that guests have a truly exceptional experience onboard their ships.

Unmatched customer satisfaction: Viking Cruises’ dedication to delivering unparalleled customer satisfaction has been a key factor in its success. The company consistently receives top marks and awards for its exceptional service, attention to detail, and commitment to creating unforgettable travel experiences.

As we celebrate this milestone, I’m excited to see what the future holds for Viking Cruises and how it will continue to shape the luxury travel industry.

Unprecedented Growth: Viking Cruises’ Expanding Fleet

With the addition of 17 new ships since 2020, the fleet of Viking Cruises continues to expand at an unprecedented rate. This fleet expansion is a testament to Viking Cruises’ commitment to providing exceptional luxury travel experiences.

The new ship launches have allowed Viking Cruises to offer even more opportunities for exploration and comfort to its guests. These additions include eight Viking Longships on European rivers, as well as new vessels deployed on the Mekong, Nile, and Mississippi rivers.

This growth not only reinforces Viking Cruises’ influence in the luxury travel industry but also solidifies its position as a leading choice for unforgettable travel experiences.

The continuous expansion of the fleet demonstrates Viking Cruises’ dedication to meeting the increasing demand for luxury cruising and ensuring that guests have access to the best possible travel options.

Exploring the World in Comfort With Viking Cruises

After discussing the unprecedented growth of Viking Cruises’ expanding fleet, let’s now delve into the unmatched luxury and unforgettable adventures that await travelers with Viking Cruises.

Unmatched luxury: Viking Cruises’ commitment to providing unparalleled comfort and luxury experiences.

Unforgettable adventures: Exploring the world’s most remarkable destinations in style with Viking Cruises.

Impeccable service: Attentive and personalized service from a dedicated crew.

Sophisticated accommodations: Luxurious staterooms and suites with elegant design and modern amenities.

Culinary delights: Savor gourmet cuisine prepared by world-class chefs using locally sourced ingredients.

Cultural immersion: Engage in authentic experiences and cultural enrichment programs at every port of call.

Viking Cruises’ dedication to comfort and exploration has resonated with both guests and experts in the luxury travel industry. With their continuous fleet expansion and introduction of new ships, Viking Cruises remains a leading choice for those seeking unforgettable luxury travel experiences.

Viking Cruises: A Driving Force in the Luxury Travel Industry

Having made exceptional contributions to the world of luxury travel, Viking Cruises has become a driving force in the industry. With their innovative approach to luxury cruising, they have made a significant impact on sustainable luxury travel.

Viking Cruises’ commitment to sustainability is evident in their fleet expansion and new ship launches, which prioritize environmentally friendly practices. They have introduced state-of-the-art technology and design elements that reduce their carbon footprint and minimize environmental impact. By incorporating renewable energy sources and implementing waste management systems, Viking Cruises sets the standard for sustainable luxury travel.

Their dedication to providing unforgettable experiences to travelers, while also protecting the environment, has solidified their position as a leading choice for luxury travel. With their continuous growth and focus on sustainability, Viking Cruises continues to shape the future of the luxury travel industry.

What are the similarities and differences between Viking Cruises and Seabourn in the luxury travel industry?

When comparing Viking Cruises and Seabourn in the luxury travel industry, it’s clear that both offer exceptional experiences tailored to discerning travelers. However, Viking Cruises emphasizes cultural enrichment and immersive experiences, while Seabourn focuses on personalized service and intimate luxury, with Natalya Leahy leading luxury cruise experiences for both companies.

What Are Some of the Other Categories in Which Viking Cruises Received Accolades in the 2023 Cruisers Choice Awards by Cruise Critic?

Viking Cruises received accolades in various categories at the 2023 Cruisers Choice Awards by Cruise Critic. From innovative itineraries to the impact of their sustainability practices, they continue to impress and lead the industry.

How Many New Ships Has Viking Cruises Added to Its Fleet Since 2020?

Since 2020, Viking Cruises has added 17 new ships to its fleet, contributing to its growth and impact on customer satisfaction. The expansion reflects their commitment to providing exceptional luxury travel experiences.

Which Rivers Have Viking Cruises Recently Introduced New Vessels On?

Viking Cruises recently introduced new vessels on the Mekong, Nile, and Mississippi rivers. These expansions are part of Viking Cruises’ overall growth and impact on the luxury river cruise market.

How Does Viking Cruises’ Mission Resonate With Guests and Experts in the Luxury Travel Industry?

Viking Cruises’ mission resonates with guests and experts in the luxury travel industry due to their commitment to excellence. They set themselves apart by providing exceptional experiences and exploring the world in comfort.

Where Can I Find the Complete List of Winners for the 2023 Awards of Excellence?

You can find the complete list of winners for the 2023 awards of excellence on Luxury Travel Advisor’s website. It includes the winners in various categories, including Viking Cruises.

Alfons is the visionary leader and driving force behind Voyager Info’s success. As the Editor in Chief, he brings a wealth of experience and an unwavering passion for travel to the helm of our cruise-centric platform.

With a lifelong fascination for exploring new horizons, Alfons discovered his love for the ocean and cruising at a young age. From sailing across pristine Caribbean waters to embarking on daring expeditions to far-flung destinations, he has amassed a treasure trove of first-hand experiences in the world of cruising.

Wonder of the Seas: A Spectacular Inaugural Voyage

I experienced an incredible journey on the inaugural trip of the Wonder of the Seas! Honestly, it was absolutely marvelous.

This massive cruise ship, with its capacity of 6,988 guests, took me on a thrilling 7-day journey through Labadee, Haiti, Coco Cay, San Juan, and Nassau.

From the bustling excitement on the Deck 5 promenade to the lush oasis of the Central Park on Deck 8, there was never a dull moment.

Get ready to hear all about the high energy, excitement, and whirlwind of activities and entertainment that awaited me on this remarkable voyage.

• The Wonder of the Seas has a maximum guest capacity of 6,988 and is 1,188 feet long.
• The ship’s inaugural cruise is a 7-day itinerary that includes stops at Labadee, Haiti and Coco Cay.
• The first night of the cruise offers exciting activities and there are attractions on Deck 5 promenade and in the Boardwalk Neighborhood.
• The ship features a Central Park on Deck 8 and a variety of dining options including the main dining room and Park Cafe.

The Impressive Size of Wonder of the Seas

I can’t believe the Wonder of the Seas has a max guest capacity of 6,988. It measures 1,188 feet in length and 210 feet in width, making it incredibly impressive compared to other cruise ships.

Its size and dimensions are truly awe-inspiring. The sheer number of guests it can accommodate is remarkable, ensuring that there is always a vibrant and lively atmosphere onboard.

With its length of 1,188 feet, the Wonder of the Seas stands tall and majestic, dominating the seas. Its width of 210 feet allows for spacious and comfortable accommodations for all guests.

This colossal ship is a marvel of engineering, providing an unforgettable experience for those fortunate enough to embark on its remarkable voyage.

Exciting 7 Day Inaugural Cruise Itinerary

Embarking on the 7-day inaugural cruise, I eagerly anticipate stops in Labadee, Haiti and Coco Cay, as well as visits to San Juan and Nassau. These destinations offer a plethora of excursions and attractions, from exploring the vibrant streets of San Juan to ziplining through the breathtaking scenery of Labadee.

Onboard, the dining options and culinary experiences are equally impressive. The main dining room offers a mouthwatering array of dishes, while the specialty restaurants like Giovannis and Chops Grille provide a more intimate and gourmet dining experience.

The Deck 5 Boardwalk Neighborhood is a hub of activity, with the Aquatheater and The Abyss dry slide providing thrilling entertainment. And on Deck 8, the Terrace bar and Park Cafe offer stunning views of the Caribbean waves, perfect for enjoying a morning coffee or sunset drink.

This inaugural cruise promises to be an unforgettable experience, filled with exciting excursions and delectable dining options.

Explore the Boardwalk Neighborhood on Deck 5

The Boardwalk Neighborhood on Deck 5 is filled with thrilling entertainment options. The Aquatheater is a jaw-dropping venue where you can witness incredible performances that combine acrobatics, diving, and high diving into a massive pool. It’s like watching a live show right on the ship!

And if you’re looking to add a little adventure to your day, The Abyss dry slide is the perfect choice. It’s a thrilling ride that takes you down 10 decks in just a few seconds.

After all the excitement, you can indulge in the main dining options available in the neighborhood. From delicious seafood to mouthwatering steaks, there’s something for every palate.

The Boardwalk Neighborhood truly offers an unforgettable experience for all.

Convenience and Delights of Deck 8

Convenience and delights await on Deck 8. This deck offers a variety of stateroom categories, including cozy interior staterooms and luxurious suites with private balconies. Whether you’re looking for spacious accommodations with modern amenities or intimate rooms for a romantic getaway, Deck 8 has something for everyone.

On Deck 8, you’ll also find a range of delicious dining options. Restaurants like Giovannis and Chops Grille offer mouthwatering meals that are sure to satisfy your taste buds. And when you’re ready to relax and take in the beautiful views of the Caribbean waves, head to the Terrace bar. This bar offers a relaxing and picturesque atmosphere, where you can sip your favorite cocktail and feel the warm ocean breeze on your face. It’s the perfect spot to enjoy a refreshing drink with friends or loved ones.

Deck 8 is truly a haven of convenience and enjoyment. With its delightful terrace bar experience and variety of stateroom options, this deck ensures a memorable and comfortable cruise experience. So don’t miss out on the chance to indulge in the wonders that await you on Deck 8.

Overall Experience of Wonder of the Seas

I was blown away by the high energy and excitement throughout my cruise on Wonder of the Seas. From the moment I stepped onboard, I could feel the anticipation in the air.

The cruise ship amenities were top-notch, catering to every guest’s needs and desires. Customer reviews had raved about the incredible experiences, and I soon understood why.

The ship’s size was impressive, with a max guest capacity of 6,988 and a length of 1,188 feet. The bustling Deck 5 promenade was a hub of activity, offering a variety of shops and entertainment options. The Boardwalk Neighborhood on Deck 5 was a must-visit, with its Aquatheater and The Abyss dry slide.

The stunning Central Park on Deck 8 provided a lush garden atmosphere, complete with live plants. The convenience of Deck 8 was unbeatable, with a variety of stateroom categories, multiple specialty restaurants, and breathtaking views of the Caribbean waves.

Throughout the entire cruise, the energy and excitement never waned, making it an unforgettable experience.

High Energy and Entertainment

From the moment I stepped onboard, the energy and excitement on Wonder of the Seas were palpable, creating an atmosphere of non-stop fun and entertainment.

The ship truly lives up to its name, offering an array of high-energy nightlife options and captivating live performances. Whether you’re in the mood for dancing the night away at the vibrant nightclubs, enjoying live music performances at the various venues, or catching a thrilling Broadway-style show at the theater, there is something for everyone.

The nightlife on Wonder of the Seas is truly unmatched, with a diverse range of experiences to choose from. You can sip cocktails at the trendy bars, try your luck at the casino, or simply enjoy the electric atmosphere as you stroll through the bustling promenade.

No matter how you choose to spend your evenings, the ship promises to keep you entertained from dusk till dawn.

Thrilling Adventures and Activities

After experiencing the high energy and excitement of the Wonder of the Seas, I was eager to explore more of the thrilling adventures and activities onboard.

One of the highlights was the Aqua Theater, a magnificent venue where I witnessed jaw-dropping acrobatic performances and high dives into a sparkling pool.

The Abyss dry slide, on the other hand, provided an adrenaline rush as I slid down 10 decks in a matter of seconds.

As for dining, the main dining experience surpassed all expectations. The elegant ambiance, impeccable service, and delectable cuisine made every meal a memorable occasion. From mouthwatering appetizers to delightful desserts, the flavors were simply exquisite.

Whether you’re seeking exhilarating entertainment or indulging in a culinary delight, the Wonder of the Seas offers a truly unforgettable experience.

Anticipation for Ship Review on Porthole.com

Anticipating the ship review on Porthole.com, I’m excited to read about the experiences of other passengers and gain insights into the various aspects of the cruise.

The upcoming cruise reviews will provide a window into the wonders of the Wonder of the Seas. As the launch date approaches, my anticipation grows. I can’t wait to hear about the stunning size of the ship, with its max guest capacity of 6,988 and impressive length of 1,188 feet.

I’m eager to learn about the 7-day inaugural cruise itinerary, with its stops at Labadee, Haiti and Coco Cay, as well as the bustling Deck 5 promenade and the exciting activities on the first night.

And of course, I’m curious about the Boardwalk Neighborhood on Deck 5, with its Aquatheater and The Abyss dry slide, as well as the delicious food in the main dining room and the lush garden atmosphere of Central Park on Deck 8.

I’m also looking forward to hearing about the convenience of Deck 8, with its variety of stateroom categories, terrace bar, and Park Cafe.

And lastly, I’m eager to read about the overall experience of the cruise, with its high energy and excitement, limited face mask requirements for crew members, whirlwind of activities and entertainment, and thrilling adventures like the Dragons Breath zipline in Labadee.

The ship review on Porthole.com will surely satisfy my anticipation and provide a glimpse into the wonders that await on the Wonder of the Seas.

What Are the Dining Options Available on Wonder of the Seas?

There are a variety of dining options available on Wonder of the Seas, offering a wide range of cuisine. From the main dining room to specialty restaurants, there is something to satisfy every palate.

Can You Provide More Details About the Aquatheater and the Abyss Dry Slide in the Boardwalk Neighborhood?

The Aquatheater on Boardwalk is a thrilling spectacle, with high-diving acrobats and water shows that will leave you in awe. And if you’re feeling adventurous, the Abyss dry slide offers an exhilarating experience like no other.

Are There Any Specific Activities or Events Planned for the First Night of the Inaugural Cruise?

On the first night of the inaugural cruise, there will be a variety of activities and events to kick off the voyage with excitement. Guests can look forward to entertainment shows, themed parties, and delicious dining options.

What Are the Different Stateroom Categories Available on Deck 8?

On deck 8, there are different stateroom categories available, including Oceanview and Balcony rooms. These options provide stunning views of the ocean and allow for a relaxing and enjoyable cruise experience.

How Does the Embarkation Process on Wonder of the Seas Differ From Other Cruise Ships?

The embarkation process on Wonder of the Seas is smooth and efficient, setting it apart from other cruise ships. The boarding experience is quick and hassle-free, allowing guests to start their vacation without delay.

What Insider Secrets Were Revealed During the Inaugural Voyage of Wonder of the Seas?

Curious travelers eagerly awaited the wonder of the seas insider secrets during the inaugural voyage. From hidden lounges to exclusive dining experiences, guests were delighted by the behind-the-scenes access to the ship’s most prized offerings. The insider knowledge added an extra layer of excitement to the already spectacular journey.

In conclusion, my experience on the Wonder of the Seas was absolutely incredible.

From the moment I stepped on board, I was blown away by the impressive size of the ship and the bustling energy on Deck 5.

Exploring the Boardwalk Neighborhood was like stepping into a thrilling amusement park, with attractions like the Aquatheater and The Abyss dry slide.

Deck 8 offered a beautiful oasis in the form of Central Park, with its lush gardens and stunning views.

Overall, the cruise was a whirlwind of high energy and excitement, with thrilling adventures and activities at every turn.

I can’t wait to read the ship review on Porthole.com and relive the memories of this spectacular inaugural voyage.

What’s Included and Not Included in Your Cruise Fare!

I can’t wait to set sail on the cruise vacation of my dreams!

But before I embark on this exciting adventure, I need to know exactly what’s included and not included in my cruise fare.

From the comfort of my cabin to the delicious food options and thrilling entertainment, I want to make sure I have all the information I need to plan my budget.

So, let’s dive in and explore what’s included and what’s not in my cruise fare!

• Cabin is included in the fare but amenities vary depending on cruise line and cabin type.
• Buffet offers a wide selection of international dishes, while specialty restaurants come at an additional cost.
• Free shows and entertainment are included, but paid activities such as go-karts and simulated skydiving are available for an extra charge.
• Gratuities, spa treatments, and extra activities like go-karts and roller coasters are not included in the cruise fare and require separate payment.

Cabin and Accommodations

The cabin is included in the fare, so I don’t have to worry about any extra charges for my room. It’s great to know that I can enjoy a comfortable and cozy space without any additional costs.

The cabin amenities vary depending on the cruise line and the type of cabin chosen. Typically, cabins come with standard features such as a bed, storage space, a private bathroom, and a television. Some higher-end cabins may offer additional amenities like a balcony, mini-fridge, or even a butler service.

As for room service options, many cruise lines offer 24-hour room service, allowing passengers to order food and beverages directly to their cabin. It’s a convenient option for those who prefer dining in the privacy of their own room.

Food and Dining Options

I love the variety of food options available on a cruise, from the buffet to the main dining room.

The buffet is a great option for those who want a wide selection of dishes to choose from. They usually offer a range of cuisines, including international dishes, salads, soups, and desserts. It’s a casual dining experience where you can try a little bit of everything.

On the other hand, specialty restaurants are a more upscale option. These restaurants often have a specific theme or cuisine, such as Italian, steakhouse, or seafood. While these restaurants come at an additional cost, they provide a more intimate and gourmet dining experience.

Whether you prefer the variety of the buffet or the elegance of the specialty restaurants, there are plenty of dining options to satisfy every palate on a cruise.

Entertainment and Activities

With a wide range of entertainment shows, activities, and movies, there is never a dull moment on a cruise ship. Here are some key things to know about the entertainment and activities on board:

Free shows: Cruise ships offer a variety of free entertainment shows, including Broadway-style performances, live music, comedy shows, and magic acts. These shows are included in the fare and provide great entertainment for guests of all ages.

Paid activities: While many activities on the ship are included in the fare, there are also some paid activities available for an additional charge. These can include go-karts, simulated skydiving, and even roller coasters. These activities offer a unique and thrilling experience for those looking for a little extra excitement on their cruise.

Additional Charges and Gratuities

When it comes to additional charges on a cruise, it’s important to be aware of the cost of specialty restaurants and gratuities. Specialty restaurants offer a more upscale dining experience and usually have a cover charge. These restaurants offer a variety of cuisines and are a great option for a special night out. Gratuities, on the other hand, are the service charges that are automatically added to your onboard account. These charges typically amount to around $15 per person, per day, and are distributed among the ship’s staff. It’s important to budget for these charges as they are not included in the cruise fare. Additionally, spa treatments and services are not included in the fare and also come with an additional cost. So, be sure to factor in these extra charges when planning your cruise budget.

Keywords: specialty restaurants, gratuities, spa treatments.

Extra Activities and Excursions

Go-karts, simulated skydiving, and roller coasters are some of the extra activities on a cruise that may require an additional charge. These paid activities provide an exciting and thrilling experience for passengers seeking adventure on their vacation. Cruise lines offer a variety of options to cater to different interests and age groups. From high-speed go-kart races to indoor simulated skydiving, these activities add an extra level of excitement to the onboard experience.

However, it is important to note that these activities are not included in the cruise fare and require separate payment. Additionally, when the ship docks at various ports, passengers have the opportunity to participate in shore excursions. These excursions, which are organized by the cruise line, offer a range of activities and experiences at the destinations visited, such as guided tours, water sports, and cultural explorations.

Similar to the paid activities onboard, shore excursions also require separate payment. It is advisable to plan and budget accordingly to enjoy these additional experiences during your cruise.

What Is Typically Included in a Cruise Fare?

When booking a Carnival Cruise, inclusions vary. Generally, the fare covers accommodation, dining, on-board entertainment, and access to amenities like pools and fitness centers. However, it’s important to check if alcohol, specialty dining, excursions, and gratuities are included or come at an additional cost.

Are There Any Additional Charges for Using the Gym on the Cruise Ship?

Yes, there may be additional charges for using the gym on the cruise ship. However, there are usually membership options available that allow guests to use the gym for free, just like in a resort.

Are Tender Boats Available for Free During Port Visits?

Yes, tender boats are available for free during port visits. They are included in the cruise fare and run the entire time the ship is in port. There are no additional fees for using them.

Do Specialty Restaurants on the Cruise Ship Require an Extra Charge?

Yes, specialty restaurants on the cruise ship require an extra charge. However, there are still plenty of included dining options. Onboard entertainment, such as daily shows and activities, is included in the fare.

Are Spa Treatments and Services Included in the Cruise Fare?

Spa treatments and services, like massages and facials, are not included in the cruise fare. They come with additional charges. However, the gym is free to use and offers great views.

Are There Any Additional Charges for Activities Like Go-Karts or Simulated Skydiving on the Ship?

Yes, there are additional charges for activities like go-karts and simulated skydiving on the ship. These are considered specialty activities and are not included in the cruise fare.

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Essay on My School Fete for Students and Children

500 words essay on my school fete.

School fetes are one of the most anticipated times of the whole academic year It is a time for rejoicing and celebrating. Every kid in school looks forward to this day with the utmost enthusiasm and fervor. Furthermore, it is also a great chance to give them a break from their monotonous routines. Similarly, school fetes also benefit the school hosting it. It helps them collect funds for the betterment of the school. The students also get duties that make them responsible and teach them things other than academic knowledge.

Importance of School Fete

School fete brings a lot of excitement with them. They are a great time to rejoice and forget about all the academic pressure. However, that is not all there is to it. School fetes are also a great time to teach students a great deal about practical knowledge.

Firstly, it allots them with duties which make them more responsible. This allotment of duties makes the children learn how to balance fun with work. It teaches them the importance of creating the perfect balance in life. When they fulfill their duties, it also makes them learn how to handle people and the real world.

Most importantly, fetes are a big stress-buster. They make the children forget about their worries and enjoy for a whole day without any academic pressure. Moreover, it also gives them a break from the monotonous routine of studies. Thus, fetes not only make responsible but also give them a much-needed break.

Get the huge list of more than 500 Essay Topics and Ideas

My School Fete

I have always loved school fetes. I look forward to them every year and make sure I attend them without fail. My school fete and annual function are two of the most special events in my school.

The school fete is held annually at my campus. We get the chance to spend our time with friends and enjoy our day. This year’s school fete was very happening. It takes place during winter in January, so the weather is also very pleasant at that time. It began with the speech from our principal and she congratulated us all on putting in so much hard work.

After that, the celebrations began. We went to so many food stalls with our group of friends. I tried out delicacies which were very delicious. I love eating bread rolls, and the stall of class 5 was selling it at very reasonable prices.

Next, we tried our hands at playing games. There were so many games; it became tough to try out all of them. The try-your-luck game is my absolute favorite. I even won a lot of gifts from that stall. Subsequently, we shot darts; however, we did not win. It was an enjoyable experience nonetheless. I saw there was a unique photo booth stall which was offering people fun and quirky props to get clicked with. My friends and I had a blast at that stall. We got so many photos from it, I have them even now which reminds me of the great fun-filled day we spent at our fete.

Q.1 When is a school fete held?

A.1 A school fete is generally held annually in every school. However, in some schools, there are also min fetes which happen monthly or so to give children a break from their monotonous routines.

Q.2 Why are school fetes so awaited?

A.2 School fetes are one of the most anticipated times of the year. It allows children to have fun and indulge in games and delicious food. It is a day free from studies. They also get to enjoy with their parents and spend some quality time with friends.

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Illustrating Carnival Remembering the Overlooked Artists Behind Early Mardi Gras

By Allison C. Meier

For more than 150 years the city of New Orleans has been known for the theatricality and extravagance of its Mardi Gras celebrations. Allison C. Meier looks at the wonderfully ornate float and costume designs from Carnival’s “Golden Age” and the group of New Orleans artists who created them.

February 7, 2018

Spider costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

On March 6, 1889, the New York Times breathlessly reported on the recent Carnival spectacles in New Orleans. The Krewe of Rex’s pageant, themed around “Treasures of the Earth”, included a “Crystal” float “attended by figures in gorgeous costumes and prisms by the thousand”, and a “Diamond” float featuring “a rocky diamond dell” through which flowed “limpid streams where nymphs sported and played with the gems”. The Krewe of Proteus, meanwhile, dazzled with their “Hindoo Heavens” pageant, where in one scene appeared Agni “God of Fire” riding a ram that “strides the flames, attended by the fire sprites.” This opulent, and highly exoticized, interpretation of South Asian religion concluded with a tableau where “Vishnu, under the guise of a horse with silver wings, shatters the earth with his hoof and rises to the celestial abode.”

The modern American Mardi Gras owes much of its bombastic revelry to this late nineteenth-century “Golden Age” of Carnival design. From the invitations to the costumes to the hand fans carried by spectators, artists designed entire identities for each Krewe (a group that organizes a Carnival event). Carnival and its culminating day of festivities — Mardi Gras — was brought to the Louisiana area by the French in the late seventeenth century. Mardi Gras as it’s celebrated today is often linked to the Mistick Krewe of Comus, an Anglo-American group which in 1857 organized a debut parade themed “The Demon Actors in Milton’s Paradise Lost”. It was a departure from previous Carnivals that were more informal and tied to the Roman Catholic community. Following the Civil War, new Krewes emerged, each attempting to outdo the others with increasingly elaborate wood and papier-mâché floats pulled by teams of horses. One year it might be Medieval legends coming to life on the streets, the next flying monkeys of Chinese mythology terrorizing the crowds.

“Bayard escapes from Mount Vulcanus” by Carlotta Bonnecaze for the “Legends of the Middle Ages” theme, Krewe of Proteus, 1888: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“Assuri” costume design by Carlotta Bonnecaze for the “Myths and Worships of the Chinese” theme, Krewe of Proteus, 1885: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“The city developed a Carnival aesthetic that blended popular Carnival tradition with the artistic currents of the late nineteenth century”, writes Reid Mitchell in the 1995 book All on a Mardi Gras Day: Episodes in the History of New Orleans Carnival . “The latter contributed largely to Carnival’s Orientalism. Carnival with its costumes, processions, tableaux, and bals masque played to the late nineteenth-century love of fantasy, of exoticism.”

Mythology, literature, religion, and history, as well as nineteenth-century book illustration and turn-of-the-century Art Nouveau, were remixed into an eclectic excess. Up to the early 1900s, the main Krewes were Rex, Comus, Proteus, and Momus, each with their favorite artist collaborators. The names of these individuals are now obscure, but artists Jennie Wilde, Bror Anders Wikstrom, Charles Briton, Carlotta Bonnecaze, and others now anonymous all influenced the embrace of the fantastic that endures into the present. The greatest publicly accessible resource of their art is the Carnival Collection , part of the Louisiana Research Collection (LaRC) at Tulane University and supported by a bequest from the late journalist Charles L. “Pie” Dufour. In 2012 , Tulane marked the completion of a two-year digitization project that put over 5,500 float and costume designs in the Carnival Collection online.

“At Home — Dancing” float design by Carlotta Bonnecaze for the “Dumb Society” theme, Krewe of Proteus, 1896: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Scorpion costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

These watercolor-and-ink drawings were intended to be ephemeral — some have visible pin holes from being tacked on the wall by costume makers in Paris — and thus not all were saved. Due to their delicate nature, they’re also rarely on view. Through April 1, the New Orleans Museum of Art is exhibiting selections from the Carnival Collection in Bror Anders Wikstrom: Bringing Fantasy to Carnival . Although his name is carved right on the frieze of the museum’s façade, included in a litany of American art luminaries like Whistler, Audubon, and Copley, it’s likely few visitors are familiar with the Swedish immigrant. Bringing Fantasy to Carnival features a full set of the twenty floats he designed for the Krewe of Proteus’ 1904 “The Alphabet” parade, with “D for Dragon” carrying knights fighting a red, purple, and green beast, and “U for Unicorn” featuring three one-horned white horses riding before a rainbow.

“D for Dragon” float design by Bror Anders Wikstrom for the “Alphabet” theme, Krewe of Proteus, 1904: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“U for Unicorn” float design by Bror Anders Wikstrom for the “Alphabet” theme, Krewe of Proteus, 1904: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Wikstrom came to New Orleans in 1883. A painter of maritime scenes, inspired by his time as a sailor, he was an active member of the local arts community, helping to found the New Orleans Artists Association that was influential in the opening of the New Orleans Art Museum in 1910. His extremely imaginative illustrations are transporting in their detail, whether the battling tiger-lillies with actual tigers leaping from blossoms and anthropomorphized cacti fending them off, from the 1898 “A Trip to Wonderland”, or the full Egyptian-style temple for the crowning of the pharaoh scene in the 1903 “Cleopatra” parade.

“Tiger-Lilies in Battle” float design by Bror Anders Wikstrom for the “A Trip to Wonderland” theme, Krewe of Proteus, 1898: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“Crowning of the Pharaoh” float design by Bror Anders Wikstrom for the “Cleopatra” theme, Krewe of Proteus, 1903: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Of course, artists could sketch any dream they wanted, building it was another thing. Comparing the illustrations to historic photographs online at the Louisiana Digital Library, it’s evident there were some concessions to making a float the horses could actually navigate through the crowds. Yet the early parades transformed into otherworldly reveries at night, when flambeaux carriers, a dangerous role traditionally given to black men , illuminated the darkness with fire. Then the warm, quavering light of the flames gave the fabricated demons, dragons, fairies, and gods a convincing glow.

Wikstrom started as an assistant to a fellow Swedish immigrant, Charles Briton. Briton arrived in New Orleans in 1865, and worked for a time with lithographer Emile Boehler, eventually devoting his artistic talents to Carnival. While he designed floats, invitations, and all the other Krewe materials, his costumes are the most ingenious. His 1882 “Ancient Egyptian Theology” illustrations for the Krewe of Proteus morphed participants into a hieroglyphic-adorned Horus and Anubis, and the 1873 “Missing Links” for Comus metamorphosed humans into beetles, coral polyps, ears of corn, grasshoppers, and leeches.

Beetle costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Coral Polyp costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Corn costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Grasshopper costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Bat costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

The full title of this 1873 parade was “Missing Links to Darwin’s Origin of Species”, and its satire bristled against the post-Civil War changes in the South. Michael Taylor describes its identifiable characters on the Louisiana State University Special Collections site: “Ulysses S. Grant, for example, has been crossed with a caterpillar and lounges on a leaf smoking a cigar. General Benjamin Butler, the despised commander of the Union army in New Orleans during the Civil War, is shown in another cartoon dining with a party of bears and hyenas.” The parade’s political barbs did not go undetected, and it was ultimately blocked by police from crossing Canal Street. Among the costume drawings that survive in the Carnival Collection is Darwin himself as an ass, and one of a gorilla playing a banjo, a racist caricature that ridiculed the humanity of black people at a time when Reconstruction amendments were constitutionally affirming their rights. Within the Carnival whimsy was the use of its sumptuousness to elevate white Southerners as “kings” and “queens”, with finery and balls that excluded non-white participants.

Darwin as an ass costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source.

Significantly, in an era of male-dominated arts, several women were leaders in Carnival designs. Born in Georgia, the prolific Jennie Wilde brought a lavish Art Nouveau elegancy to her illustrations for Comus and Momus. For the 1902 Lord Byron–themed floats for Momus, she envisioned his metaphysical poem “Manfred” with a mermaid, waifish spirits, and the lurking specter of death in the form of a skull; “The Prisoner of Chillon” has a lonely, bearded man chained in a Gothic dungeon, swarmed with bats, with one giant winged mammal acting as the eerie float’s prow.

“The Vision of Manfred” float design by Jennie Wilde for the “Byron” theme, Knights of Momus, 1902: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“The Prisoner of Chillon” float design by Jennie Wilde for the “Byron” theme, Knights of Momus, 1902: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

For Comus’ 1911 “Familiar Quotations” she positioned couples on the “What are the wild waves saying” float gazing at a torrent of water from pearlescent shells; and butterflies, gargantuan poppies, a sea serpent, and botanical forms swept in a current of foliage on “Such stuff as dreams are made of”.

“What are the Wild Waves Saying” float design by Jennie Wilde for the “Familiar Quotations” theme, Mistick Krewe of Comus, 1911: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“Such Stuff as Dreams are Made of” float design by Jennie Wilde for the “Familiar Quotations” theme, Mistick Krewe of Comus, 1911: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

In his 2001 book Mardi Gras Treasures: Costume Designs of the Golden Age Notecards , Henri Schindler writes that Wilde was

fascinated throughout her career with the painting and literature of the symbolists and the decadents, with the chimeras and operatic grandeur of Gustave Moreau and Gustave Flaubert, the sensually tinted worlds of Pierre Loti, and the Babylonian apocalypses of Jean Rochegrosse. Nurtured in this other-worldly splendor, Wilde in turn called forth visions of exotic temples and molten clouds, bowers of gigantic flora, and enchanted beasts.

In 1913, Wilde died at the age of 48 while on a trip to England. Her final designs for “Tales From Chaucer” appeared in 1914, debuting the very night she was interred in New Orleans’ Metairie Cemetery. In addition to Wilde, there were several other women who had a major role in Carnival art. Carlotta Bonnecaze created dazzling scenes with an air of science fiction, such as the 1886 parade “Visions of Other Worlds” for Krewe of Proteus, with lightning-wielding extraterrestrials riding on a comet, six-armed beings wandering a Saturn covered with prickly cacti, and a desolate moon where wizened figures seem frozen in gray craters.

“Comet” float design by Carlotta Bonnecaze for the “Visions of Other Worlds” theme, Krewe of Proteus, 1886: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“Saturn” float design by Carlotta Bonnecaze for the “Visions of Other Worlds” theme, Krewe of Proteus, 1886: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“The Moon” float design by Carlotta Bonnecaze for the “Visions of Other Worlds” theme, Krewe of Proteus, 1886: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Later, Ceneilla Bower Alexander decked out the Krewe of Rex with an Aurora Borealis float in 1912 and ethereal angel costumes in 1920, and in the 1920s and ’30s, Léda Hincks Plauché sketched feathered serpents and Don Quixote scenes for the Krewe of Proteus.

“The Feathered Serpent” float design by Léda Hincks Plauché for the “The Fair God” theme, Krewe of Proteus, 1926: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

The Great Depression effectively ended this period of no-expense-spared Mardi Gras, yet its spirit of visual exuberance thrives into the twenty-first century. The papier-mâché, wood, paint, and maybe a few fake jewels, used to turn an ordinary person into a trickster devil or graceful half-human, half-butterfly, and a horse-drawn cart into a wonderland, endure in the spirit of Carnival creation. As the annual bacchanalia of parades, processions, and parties continues in New Orleans, there are still threads to follow back to these artists who shaped fantasies into reality.

Public Domain Works

• Tulane University Some potential restrictions on reuse
• Internet Archive

Further Reading

Carnival artist and historian Henri Schindler offers a stunning panorama of Mardi Gras’ evolution and its exuberant diversity – the early Creole cavalcades; the torchlit processions of the Mistick Krewe of Comus; the rise of Rex, King of the Carnival; fabulous tableaux balls, Carnival royalty; Storyville and the Baby Dolls; Les Mysterieuses, the first female society; and African-American creations – the Zulu Social Aid and Pleasure Club, and Mardi Gras Indians.

The introduction of the float brought tremendous artistry to the splendid conveyances for Carnival revelry, but the artists and builders who created the fabled pageants have remained obscure or unknown, their amazing body of work largely forgotten. This collection provides dazzling examples of the original float designs as rendered in watercolor and lithographs –most of them reproduced here for the first time.

The Public Domain Review receives a small percentage commission from sales made via the links to Bookshop.org (10%) and Amazon (4.5%). Thanks for supporting the project! For more recommended books, see all our “ Further Reading ” books, and browse our dedicated Bookshop.org stores for US and UK readers.

Allison C. Meier is a Brooklyn-based writer who has contributed stories to Lapham's Quarterly , National Geographic , the New York Times , CityLab , Wellcome Collection , and other publications on art, architecture, and history. Previously, she was a staff writer at Hyperallergic and senior editor at Atlas Obscura . She moonlights as a cemetery tour guide.

The text of this essay is published under a CC BY-SA license, see here for details.

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Home — Essay Samples — Arts & Culture — Carnival — Carnival: Importance in Culture and Relations Within Historical Communities

Carnival: Importance in Culture and Relations Within Historical Communities

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How to Celebrate Carnival in the Caribbean

Blacqbook / Getty Images

Dominican Republic

Puerto rico, st. vincent and the grenadines, cayman islands.

Once Christmas season is officially over in the Caribbean, it's time to dig out your dancing shoes and start thinking about Carnival, the hedonistic celebration that culminates on Fat Tuesday, or Mardi Gras, the day before Lent begins. If you are  planning a trip to the Caribbean in February or March , when Fat Tuesday falls depending on the year, you can catch this raucous celebration that's a once-in-a-lifetime experience.

Carnival in the Caribbean has a complicated origin. It's tied to colonialism, religious conversion, and ultimately freedom and celebration. The festival originated with Italian Catholics in Europe, and it later spread to the French and Spanish, who brought the pre-Lenten tradition with them when they settled (and brought slaves to) Trinidad, Dominica, Haiti, Martinique, and other Caribbean islands.

Historians believe the first "modern" Caribbean Carnival originated in Trinidad and Tobago in the late 18th century when a flood of French settlers brought the Fat Tuesday masquerade party tradition with them to the island, although Fat Tuesday celebrations were almost certainly taking place at least a century before that.

By the beginning of the 18th century, there were already a large number of free Black people in Trinidad, along with French immigrants, earlier Spanish settlers, and British nationals (the island came under British control in 1797). This resulted in Carnival's transformation from an implanted European celebration to a more heterogeneous cultural tradition that included influences from all ethnic groups. With the end of slavery in 1834, the now completely free populace could outwardly celebrate their native culture and their emancipation through dress, music, and dancing.

These three elements—dressing in masquerade, music, and dancing—remain central to Carnival celebrations, whether it be at an elaborate French ball or steel drums in the streets, with costumes, masks, feathers, headdresses, dancing, music, and drums all part of the scene, along with raucous behavior.

From Trinidad and Tobago, Carnival spread to many other islands, where the tradition fused with the unique local cultures. While all of them celebrate with costumes and dancing, you can experience a different flavor of Carnival depending on where you visit, from salsa showcases in Antigua to calypso music in Dominica . Some celebrations have even moved off the Easter calendar and are celebrated in the late spring or summer.

It's impossible to discuss Caribbean Carnival without mentioning Trinidad , the mother of all Carnival celebrations in the region. The country hosts the biggest party in the Caribbean, primarily on the big island of Trinidad. Partygoers parade in the streets for two days straight while wearing elaborate feathered costumes (called " mas " on the island). Hotel rooms get booked up to a year in advance, so plan ahead if you want to attend this legendary festival.

The Dominican Republic definitely puts its own spin on Carnival celebrations, where the traditional calypso music is swapped out for bachata and merengue. And while Carnival generally brings to mind images of colorful costumes with feathers and showing lots of skin, partygoers in the D.R. often wear traditional garb that represents their African or Indigenous Taíno roots. Parades take place every Sunday in February throughout the country with La Vega being one of the top spots to visit, all culminating in the climax festival on the first Sunday in March in Santo Domingo .

Carnival in Puerto Rico is known officially as Carnaval Ponceño , since the festivities are centralized in the city of Ponce on the southern coast. It always takes place throughout the week leading up to Ash Wednesday with plenty of traditions that hark back to Spain, such as the final Burial of the Sardine ritual. On the final night, "mourners" carry a giant constructed sardine through the town in a mock funeral and then burn it. As with all Carnival events, the ritual is followed up by an all-night party.

In St. Vincent and the Grenadines , there is Vincy Mas, a carnival initially held in the days before Lent but now a summer celebration. Vincy Mas includes street festivals, calypso music, steel drum performances, and, most famously, Mardi Gras street parties and parades. It's the same Carnival tradition, just held a few months later.

In Martinique , travelers can check out Martinique Carnival, which takes place in the days leading up to Lent and consists of both local and tourist events. Particular to Martinique is the "King Carnival" celebration on Ash Wednesday that includes a massive bonfire in which King Vaval, "the king of Carnival," is made out of reeds, wood, and other flammable materials and then burned as an effigy in celebration. 

In Haiti , locals and visitors alike can celebrate "Haitian Defile Kanaval," one of the larger carnivals in the Caribbean islands that extends across multiple Haitian cities. This Carnival celebration takes its Fat Tuesday celebrations seriously, with feasts, costumes, music, and all kinds of frenzied fun.

In the Cayman Islands, Batabano, one of the youngest Carnival celebrations in the Caribbean, is a popular May event that celebrates African history in the Caribbean, as well as the success of the present and future Cayman Islanders. The word "Batabano" is a nod to the tracks that local sea turtles leave in the sand when they move from their nests to the beach, a term some speculate was chosen to represent the growth of the Cayman Islands over generations.

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Essay on My School Carnival

School carnival is an event that every school organizes once a year or twice. This is a package of full entertainment with encouraging activities, delicious food items, and several programs. There are many schools that organize this event only for enjoyment and fun, but many organize this event with a motive behind it.

Short and Long Essays on My School Carnival in English

Find here some well-written essays to get completed your school assignments/or project.

My School Carnival Essay 10 Lines (100 – 150 Words)

1) School carnival is the must needed break from our daily academics.

2) Every school organizes a carnival to encourage students in other curricular activities.

3) Every year I eagerly wait for my school carnival.

4) Our school organizes a carnival in the month of July.

5) We start preparing for the carnival a week before.

6) I always participate in various activities held during the carnival.

7) Our school also organizes food stalls which I love the most.

8) Different games with prizes are the loveliest part of this fete.

9) Many students prefer volunteering and helping teachers.

10) Every student and teacher feels excited for the carnival.

Essay 1 (250 Words) – My School Carnival

Introduction

School carnival is one of the fests which is organized by the collaboration of teachers, Children, and staff of the school. This is the best way of relaxing from the daily routines of school. It can also be called the break to the student from the academic studies and routine.

Every school organizes a school carnival once during the year. Some of the schools arrange this carnival for a special cause while others organize the event for fun and break. This event involves the efforts of teachers and children to make it a successful one. Arrangement of the school carnival requires proper planning and better execution.

My school Carnival

My school also organizes a carnival in the month of November. People in the nearby areas of the school are invited. Our parents are specially invited to attend the carnival. There are many stalls set up by the student and teachers of all sections. The stalls are lined up according to different classes. There are food stalls and game stalls. There is a lot of hustle and bustle on the carnival day. Parents enjoy the carnival very much. Students of different classes are busy helping their teachers till the end of the carnival. There are winning prizes for the best stalls in the carnival. The stalls which have the best collection of money are awarded.

We enjoy ourselves a lot at our school carnival. We invite our friends to our school and have a lot of fun. All children including me wait for this day eagerly.

Essay 2 (400 Words) – School Fete: a Great Day to Enjoy with Family and Friends

There are some of the events organized by the school which is meant for making students relax from the daily routine of study. It also helps in the overall development of the student as it requires a presentation of the skills of the students. One such event arranged in our school is my school’s fete.

About My School Fete

Every year on 14th November on the occasion of children’s day, our school organizes a fete. We are excited about this event and wait for this day to arrive soon. This event is held in the playground of the school, which is located at the back of our school premises. The preparation for this event is started two weeks before the event date. We have to contribute an amount to our class teachers.

The participation of students is necessary to make the event a successful one. Some students who are interested in volunteering are selected for volunteers. Many of them are selected to help the teachers in the stalls. The event is started with the ribbon-cutting ceremony by the chief guest and his speech. There are many stalls set up in the fest. Some of them have various games and a quiz. Others are serving with a variety of food and snacks.

Invitations are sent to our parents for giving their presence at the event. The stalls are set according to the classes. The parents visit the stalls put up by their wards along with other stalls too. The students and teachers are busy with the different activities of the stall till the end of fete. I enjoy the different snacks and foods in the school’s fete with my friends and parents. Some of my friends are not from my school but on this day we all gather and enjoy the day.

School Fete is a Great Day to Enjoy with Family and Friends

A school is a place meant to study and gain knowledge. Generally, we have most of our school days loaded with a busy schedule of studies or exams. There are few days which are celebrated or an event is organized. School fete is an event that gives us relaxation from the busy study schedule and provides entertainment. The idea of school fete fills our eyes with a spark.

I really enjoy this day with my friends and parents. We play many games and enjoy the taste of a variety of food items. My parents also attend this event by taking out time from their busy schedules.

The events like school fetes must be regularly organized in our schools because it provides an opportunity to the students to present their skill and creativity.

Essay 3 (500 – 600 Words) – My School Carnival: Activities and Importance

The word carnival itself means enjoyment and fun. A school carnival is an event that is organized by the school for its students, families, and visitors. This is the day that makes the students and teachers get rid of the daily schedule and enjoy the day. This event has a greater contribution to students, teachers, and staff. They put their efforts to make this event successful. Students do not have to carry their school bags and books on that day.

I Love My School Carnival

I am studying in a mission school. Our school carnival is held in February. This is the best time for organizing this event as we can enjoy it before the commencement of our exams. This event is considered to be the last event of the academic year for us. Our school organizes this event every year with a motive. The school management has to raise funds for education and helping poor people. They collected a massive amount and donated it to poor people. The school had a noble cause behind arranging this event and therefore many people visited the fest.

Different Activities in our School Carnival

The starting of the carnival takes place with a welcome dance and speech of the principal. Some reputed personalities are invited as our chief guests and the inauguration of the carnival is done by the chief guest only.

Many stalls are set by different classes. There were twenty-five stalls in our school carnival. Twelve were related to games and the rest thirteen had a variety of food and snacks. There were many games like fishing, shooting, etc. The food items in the stalls had the dishes of different states of India. At one place we can get the taste of different states. The students of the higher standard had stalls with computers and video games. At the end of the day, the best performing stall is awarded some prize money or gift hamper.

School Carnival – The Result of Proper Planning and Co-ordination

There is proper planning before the event to be organized. Several teams are made to handle different activities and are headed by the team in charge. Few teachers handle the responsibility to check the proper execution of the plan. Teachers of various classes choose the students for their help. Many students are chosen as volunteers. The discussion about different ideas for activities is carried out by teachers and the best ones are finalized.

Importance of the School Carnivals

The school carnival involves the participation of the students, teachers, and staff. These carnivals would not be possible without their combined effort. This fest inculcates a lot of values in children.

• Helps in Refreshment – The organization of the carnival gives a break to students from their daily academic routine. They can enjoy and get refreshments.
• Teamwork – Students learn to work in a team. Each and every team has been assigned different work. The students get experience working in a team and learn to trust each other.
• Responsibility – The work is full of responsibility. It is necessary that work given to any student has to be completed on time. This helps the student to understand the real meaning of responsibility.
• Dedication – The students working in the fest do their work with proper attention till the end to make the event successful. This shows their dedication to the work. They get inspired and further apply the concept in their life.
• Students get an opportunity to present their talents – There are many students who are good at poster making, singing, dancing, etc. These students get a chance to present their talents to the public in the carnival.
• Brings students closer to their teachers – In the carnival students and teachers are working together to give their best. In this way, the students become franker to their teachers and teachers also get a chance to understand the students.

The school carnival brings a feeling of joy and entertainment. Parents also get a chance to get entertained and refresh themselves by visiting the carnival with their children.

FAQs: Frequently Asked Questions

Ans . The act of and merrymaking by organizing any event or fest is called carnival.

Ans . The word carnival has been derived from a Latin expression ‘Carne vale’ which means farewell to meat.

Ans . Rio de Janeiro in Brazil is the city of the largest carnival celebration in the world.

Ans . School carnival gives refreshment to the students from the monotonous schedule of studies.

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Essay on My School Fete/School Carnival for Students and children

Table of Contents

School Carnival is a lot of fun. It gives the much needed break from studies and gives the students an opportunity to indulge in different activities. Many schools organize at least one carnival a year and ensure active participation of the students as well as teachers. Many entertainment and sports events are often organized during school fete or carnival.

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Target Exam ---

It is a opportunity for both the students and teachers to engage in several extracurricular activities and show their talents to the world. It provides a couple of days of entertainment away from the tensed classroom environment, wherein students can help bringing up a stall or participate in various other activities.

Long and Short Essay on My School Carnival in English

Here are long and short essay on My School Fete/ School Carnival of varied lengths to help you with the topic in your exam.

These essays have been written in simple language, making them easy memorable and presentable on demand.

After going through the essays you will know what is a school fare, what are various activities, how does a school fete looked like, and what are its advantages.

You can select any My School Fete/School Carnival Essay as per your requirement.

Short Essay on My School Carnival – Essay 1 (200 words)

My school organizes a carnival every year during the month of October. It is the time our first term examination is over and there is still enough time for the second term examination to begin. So, it is the perfect time to host a carnival.

Our school management and teachers put in a lot of efforts in organizing the school carnival. They begin with the preparation months before the carnival and come up with various innovative ideas. Many of the senior class students are also a part of the carnival organization committee and they also work with dedication to make this event a success. Big posters are made and several craft items are made to decorate the place where the carnival is to be held.

Our teachers ensure active participation from each student. A number of stalls are set for the entertainment of visitors. Some of these stalls have interesting games that mostly involve single player. These games test your intelligence, analytical skills and eye-hand coordination. Then, there are rides mostly for children up to 10 years. Children enjoy these rides thoroughly. We also have food stalls serving delectable food. These stalls pull a large number of people and are appreciated for their amazing food and quick service.

All in all, my school carnival is full of fun and entertainment.

Essay on Pre-Primary School Carnival – Essay 2 (300 words)

Introduction

Pre-primary school carnivals are a common sight these days. These schools often host multiple school carnivals each year. Pre-primary school carnivals are colourful and vibrant. Different kinds of swings are installed and a number of fun activities are conducted as a part of such school carnivals.

School Carnival – A Way to Lure Parents

The number of pre-primary schools has increased drastically in the last few years. This may be attributed to the growing nuclear family system where both the parents are working and there is no one to take care of the children back home. Parents are eager to enroll their kids to school so that they can get back with their work routine.

Now, with so many pre-primary schools around it is hard to drill down to one. The competition is high and this is one of the reasons these schools focus so much on carnivals. They send invites almost everywhere. Pamphlets are distributed and hoardings are installed to promote these events. These carnivals have become a way to lure parents. Special stalls are set up to boast about the pros of the school in an attempt to enroll more and more students.

Fun Activities at Pre-Primary School Carnivals

Pre-primary school carnivals are full of fun activities for both parents as well as children. There are a host of exciting swings for the enjoyment of kids. Kids are also encouraged to take part in painting competitions, fashion shows and other such competitions in order to bring out their creative side.

There are many fun games and activities that involve both parents and children. These activities help the parents spend quality time with their kids and strengthen their bond.

Essay on Middle School Carnival – Essay 3 (400 words)

School carnivals are full of fun and frolic. Middle school carnivals are especially the best. This is because the students are big enough to take initiatives and participate whole heartedly in the carnival and do not have as much study pressure as the senior students. This is just the perfect time to indulge in extra-curricular activities, explore one’s talent and hone skills. Middle school carnivals offer just the right platform for the students to participate in different kinds of interesting activities and display their talent.

Why Should Schools Organize Carnival?

Middle school carnivals are organized for various reasons. These are beneficial for the school, teachers as well as students. Here is why every school should invest in carnivals:

• Exposure to the Students

Academics alone are not enough for the students these days. The competition is growing and only those who acquire different skills and can present themselves well can survive it. Carnivals provide the opportunity to indulge in different activities and learn several new things that are out of the box. These activities build confidence in the students and expand their knowledge. They provide the right kind of exposure to the students and are thus helpful to them.

• Reputation Building

Carnivals are a good platform for the schools to build their reputation. This is the reason why they are ready to invest so much in these events. Several people are invited to these events. The way the school is nurturing it’s students can very well be judged by the performances that form a part of these events. The amount of efforts put in by the teachers can also be seen during these events. It is a good way to earn goodwill in the industry and attract more admissions.

• Parents Involvement

Parents often complain about not having a clear picture about what all this happening in the school and how well their kids are being groomed. During the parent-teacher meetings, they are given a verbal account of the progress of the students and the activities conducted in the school.

However, verbal information is seldom satisfactory. School carnivals are a good way to establish a connection with the parents and show them the kind of activities their children are being involved in and how well they are being trained in the same. Parents also get to meet the teachers and see how dedicatedly they are working for the growth and development of their students.

Many activities in the school carnival involve both parents and students. This helps the parents establish a good connection with their children too.

Essay on High School Carnival – Essay 4 (500 words)

High schools often organize annual school carnivals to give their students the much needed break from the hectic study schedule. These also help the schools establish a good reputation in the markets and attract more business. Teachers also get a chance to show their creative talent and strengthen their bond with the students.

Planning for High School Carnivals

It takes a lot to plan the school carnivals. The school management and teachers begin the planning months before the event. They put in a lot of efforts to make the event a success.

• Deciding the Budget

The first and foremost thing while planning for the school carnival is to set a budget. The school management consults the accounts department and their financial advisors to set a budget for this annual event before moving on to the preparations.

• Planning the Event

Once the budget is set, the date, time, venue and other nitty-gritty’s of the event are decided by the school management. They also select some teachers to help them organize the event.

• Sharing of Ideas

The teachers come up with different kinds of ideas to make the event a success. They try to look for creative and innovative ways to make the event as unique as they can. Various ideas given by different teachers are discussed and the best from them are chosen for the event.

• Involving Students

The involvement of students is of utmost importance. Teachers hand pick students from different classes to seek their help in organizing the event.

• Coordinating with Different Departments

Different activities are planned for the school carnivals. These include drawing and painting competitions, dance performances, fashion show and what not. The teachers in the organizing committee need to co-ordinate with teachers from different departments to prepare students for these activities and competitions.

• Ensuring Proper Implementation

Besides planning for the school carnival the school management and the teachers in-charge also need to ensure that proper implementation is done as per the plan laid.

Advantages of School Fete for Students

School fetes are essential for high school students. They help these students in the following manner:

• Prepare them for Future

High school students are just about to step out of the school and face real challenges in life. Bookish knowledge alone cannot prepare them for the competition ahead. Participation in the school carnival helps them open up and explore many new things that enhance their knowledge.

• Boast Confidence

Participation in various activities and competitions in the school carnival helps in building the students’ confidence.

• Explore their Interest

These events are also a good way to explore one’s interest which is helpful in choosing the course one should pursue in college.

• Think out of the Box

These events encourage the students to think out of the box and show their creative talent rather than following the same set pattern day in and day out.

Long Essay on Annual School Fete/Annual School Carnival – Essay 5 (600 words)

Annual school fetes are organized by a number of schools these days. These fetes/ carnivals are a good way to provide exposure to students as well as teachers. Schools are moving beyond academics and involving their students in co-curricular activities to ensure their all round development. Participation in school fete gives a good platform to the students for showcasing their talent.

Pros and Cons of School Carnival

While school carnivals offer a number of advantages, they also come with their set of disadvantages. Here is a look at the pros and cons of school carnival:

Pros of School Carnival

• Builds Confidence

School carnivals allow the students to participate in a number of activities. Many students are assigned different tasks while organizing the event. This helps in building confidence in them. Many students even perform different activities and earn appreciation which further boosts their confidence.

• Showcase Talent

Different students possess different skills. Some are skilled in music, others are skilled in dance yet others are good at painting. School carnivals are a good place for the students to showcase their talent. They give performances to show their talent and skills.

• Teaches Team Work

Students work as a team to make the school fetes a success. It helps them understand the importance of team work. It teaches them how to coordinate and work as a team.

• Raises School’s Visibility

Schools invite celebrities and other prominent members of the society to the school fete. A large number of other people are also invited to the fetes. This increases the popularity of the school.

• Strengthens Teacher-Student Bond

Students and teachers work together on various activities during the school carnival. It thus helps in building a bond between them. When the students develop a good bond with the teachers and are comfortable with them, the classroom sessions also become more interactive and interesting.

• Helps Rejuvenate

School fete offer the much needed break from the study routine. They offer a rejuvenating and refreshing experience which is essential for the students as well as teachers.

Cons of School Carnival

• Consumes Time

A lot of time and effort is spent in planning and organizing the school carnival. This takes away a lot of precious time of the teachers. At times, they have to miss the classes or stay back after school in order to plan various activities for the event. This can get quite exhausting for them.

• Involves Huge Expenditure

School fete involve a good amount of expenditure. At times, it is difficult for the schools to spend so much however they still do so just to keep up with the trend.

• Hampers Studies

Sometimes the students require spending a lot of time preparing for their performances. They even have to miss their classes to prepare for the event. This hampers their studies and puts extra pressure on them.

Participation in School Carnival Must be Encouraged

School carnivals are good for the school, teachers as well as students. Teachers must ensure that maximum number of students participate in the carnival as it is essential for their all round development. Teachers must identify the skills and calibre of their students and encourage them to participate in different activities based on the same. This is a good way to enhance their skills and boost up their confidence.

However, teachers must ensure that the studies are not hampered due to the carnival preparations.

Here are some helpful resources on My School

FAQs on My School Fete Essay

What is a few lines about school fete.

A school fete is a lively event where students, teachers, and the community come together to enjoy games, food, and entertainment, often organized to raise funds for school activities.

What is fete in school?

In school, a fete is a festive gathering or fair that typically includes stalls, games, food, and various attractions, aimed at fostering a sense of community and fundraising.

What is called fete?

A fete is an event or celebration, often held outdoors, that involves games, entertainment, food, and socializing, typically organized for a specific purpose or to mark a special occasion.

Why is it called a fete?

The term fete comes from the French word fête, which means celebration or festival. It is called a fete because it signifies a festive gathering or event.

What happens at a fete?

At a fete, you can expect a variety of activities such as games, rides, food stalls, live music or performances, and a lively atmosphere where people gather to have fun and often support a charitable cause or community event.

What is the school carnival?

The school carnival is a fun event organized by the school, featuring games, food, and entertainment to engage students, parents, and the community.

What are the benefits of a school carnival?

School carnivals foster community bonding, raise funds for educational activities, and provide a memorable, enjoyable experience for students and families.

How do you describe a carnival?

A carnival is a lively and colorful event or festival, typically featuring rides, games, food stalls, and entertainment, creating a festive atmosphere.

What is special about a carnival?

Carnivals offer a unique blend of excitement, culture, and tradition, bringing people together for a joyful celebration with a wide array of attractions and activities.

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COMING TO TERMS WITH THE LANGUAGE OF CARNIVAL: WHAT IS AND ISN'T CARNIVAL?

North africa and upper guinea coast, lower guinea coast, east africa, central africa, southern africa and madagascar, new research on carnvival in africa, references cited, carnival in africa : join the party.

A manda C arlson is associate professor of art history in the Hartford Art School at the University of Hartford. She has worked in the Cross River region of Nigeria for thirty years. Her publications cover Calabar Carnival, along with many other topics, and she has served as an official carnival judge. [email protected]

C ourtnay M icots is associate professor of art history in the Visual Arts program at Florida A & M University. She has worked in Ghana for over ten years as well as in the Republic of Benin, South Africa, England, and Brazil. Her research encompasses a variety of resistance art forms, including carnival, architecture, sculpture, and asafo flags. Her book Kakaamotobe: Fancy Dress Carnival in Ghana was published in 2021. courtnay. [email protected]

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Amanda Carlson , Courtnay Micots; Carnival in Africa : Join the Party! . African Arts 2022; 55 (4): 6–17. doi: https://doi.org/10.1162/afar_a_00678

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Tourism-fueled economies in Africa and the travel industry produce photo-rich websites with seductive, color-saturated images that draw people to fabulous carnivals across the continent. These industries have vastly outpaced scholarly documentation of carnivals in Africa, which are often assumed to be an isolated and recent phenomenon, but in fact exist in all corners of the continent— Morocco, Cape Verde, Guinea Bissau, Côte d'Ivoire, Sierra Leone, Ghana, Togo, Nigeria, Cameroon, Angola, South Africa, Zimbabwe, Madagascar, Ethiopia, and Kenya to name a few. Some are very new—although usually built upon an existing performance tradition—while others, such as in Angola and Cape Verde, are thought to be centuries old. As carnival events are growing in popularity, we hope this collection of articles will encourage others (scholars, artists, communities) to join the party and experience the complexity of carnival in Africa.

At this time, we know of only two full-length books about carnivals in Africa: Coon Carnival New Year in Cape Town: Past to Present ( 1999 ) by Denis-Constant Martin and Kakaamotobe: Fancy Dress Carnival in Ghana (2021) by Courtnay Micots. Many other carnivals are mentioned in disparate texts covering diverse regions and disciplines—a fair number published in African Arts . However, many references to carnivals in Africa fly under the radar because authors do not use the term “carnival” even when the event fits the definition of carnival or includes many characteristics of carnival. Until now, the literature on carnival has primarily focused on the Caribbean and Latin American epicenters. The weather vane of carnival history and theory indicates a strong wind blowing steadfast out of Trinidad & Tobago and Brazil (with carnivals that are well known among revelers and scholars alike), but this special issue hints at the vast scope of carnivals in Africa and the geographic decentering of carnival studies. The articles in this special issue demonstrate that Africa is not only a point of origin to explain diasporic performance traditions, Africa is also a place of return and reinvention—disrupting linear models of influence.

Humans have found many reasons to form processions and dance in the street. Factors that contributed to carnivals in Africa include the Portuguese (early super-spreaders of Christian festivals and processions), emancipated returnees from the Americas, British maritime culture (suppliers of goods, ideas, and people among the Caribbean, Europe, and Africa), diplomatic programs and global festivals (e.g., the First World Festival of Negro Arts in 1966 in Senegal and FESTAC ’77 in Nigeria), and the intensification of globalization and shifts in the economy (moving from oil to tourism in Nigeria, for example). Another important piece of the puzzle is that festivals were almost always built upon the many preexisting performance traditions involving processions and masquerades. Carnivals in Africa are responses to multicultural societies and power dynamics within the continent.

The articles in this issue cover a variety of performance events, and the authors—who come from diverse disciplines and are at various stages in their careers—address four festivals from the coastal region of West Africa. The case studies include long-established carnivals (Fancy Dress in Ghana), festivals of recent import from the Americas (Calabar Carnival in Nigeria), older festivals that have become carnivals (Batanga Carnival in Cameroon), and annual festivals that tap into carnivalesque elements yet are not carnivals per se (Epé Ekpé festivals in Togo). Even so, these case studies are a small slice of a much larger story that could potentially shift how we look at carnival and the trajectory of research moving forward.

In Africa, the term “carnival” is increasingly used to describe diverse events that can contribute to the global history of carnival. But, who gets to determine what is or isn't carnival? The word “carnival” has a European etymology, but that does not mean that similar rituals weren't happening elsewhere. Because most scholarship on carnival weighs heavily on its early European roots and later manifestations in the Americas, our understanding of carnival in Africa may be somewhat skewed and the language we use should be carefully considered. As we add perspectives from Africa and a broader range of scholarly voices, an understanding of carnival may expand to include a broader range of processional festivals and other carnivalesque performances.

European carnivals emanate partly from Roman Saturnalia, a festival of several days or weeks in December during which, as one ancient senator complained, the “whole mob has let itself go in pleasures” ( Seneca 1917 ). This is common in carnivals, but despite the seeming chaos, carnival is “ordered according to rules about what it inhibits or does not allow to surface” ( DaMatta 1986 : 28-29). Saturnalia was appropriated by early Christians for their pre-Lenten celebrations by the eleventh century, when the forty-day fast for Lent was established by the Catholic Church. These celebrations, which included a parade through the city, continued for centuries and spread throughout Europe. The Latin term carnem-levare , or “to remove oneself from flesh or meat,” was applied to the celebration. Italians eventually shortened this to carnevale , meaning “flesh farewell.” Later, this was translated by the Spanish and Portuguese to carnaval , the English to carnival , and the French to Mardi Gras (Fat Tuesday). Self-indulgence, laughter, disguise, and unruliness became part of the festivities as early as the fourteenth century. Elite members of society held masked balls while the rest of the population, primarily male, organized into groups that held other loosely structured events, such as processions and mummings. Mummings consisted of groups who wandered through the streets performing and begging in return for money or food ( Mauldin 2004 : 3-4). Carnival activities often bracketed Christian rituals, taking place prior to Lent, which ends with the Easter celebration. Some of these ideas found their way into African performances. African carnivals often coincide with the calendar of religious holidays (Christian, Islamic, or indigenous).

Contemporary scholars who want to explain carnival lean heavily upon literature rooted in the European tradition, whose contemporary flagbearer is the Russian literary critic Mikhail Bakhtin (1895-1975). His ideas have been widely applied to ritual behavior in the most universal sense and his writing about French carnival in the Middle Ages has been pivotal. He explained that the time and space for carnival activities is “a phenomenon in transformation, an as yet unfinished metamorphosis, of death and birth, growth and becoming” ( Bahktin 1984 : 24), involving rituals that navigate between the sacred and profane. He described carnival as a procession that “does not acknowledge any distinction between actors and spectators” and therefore belongs to the community ( Bahktin 1984 : 7). In Africa there is a wide range of scenarios defining the relationship between actors and spectators. And the dynamic of belonging takes on different meanings in the African context, which is heavily laden with community-based social structures unique to those communities. Bahktin's contribution is undeniable, yet the definition of carnival can be expanded.

Scholarly voices in the Americas have certainly expanded the conversation about carnival, most notably with regard to themes of oppression and resistance. Brazilian Roberto DaMatta examined the Brazilian social world through specific ritualized events by focusing on military parades, religious processions, and carnivals ( DaMatta 1991 : 26). His approach to such national rituals differs from Bahktin, who dissected a literary text and focused upon events that exhibited carnivalesque behaviors. From an anthropological perspective, DaMatta adds to our understanding of carnival in terms of how order and disorder come into play. DaMatta noted a division between two types of social events: those that were highly ordered, like ceremonies, birthday parties, funerals, and military parades that demanded planning and respect, and those dominated by merrymaking, diversion, and/or “license,” where behavior is free from the rules and creates a sense of disorder ( DaMatta 1991 : 29-30). The alternate space “permits people to destroy and react violently without fully assuming the political consequences and implications of their actions” ( DaMatta 1991 : 31). Destruction can take place literally or figuratively and has been documented in numerous carnivals tied to the Atlantic specifically for the purpose of expressing tensions and resistance to their oppressed predicament under European and American hegemonies. However, these events are also about joy, as they encourage social cohesion in communities newly formed or broken apart by foreign policies.

Because the location from which one watches carnival informs perspective, research on carnival in Africa offers a reorientation. It could potentially test broader conceptual frameworks, as was the case when scholars began to discuss carnival and other art forms in the Americas (and other locations attached to the Atlantic) in relationship to Africa. For example, Robert Farris Thompson used the terms “Black Atlantic world,” “African-Atlantic world,” “circum-Atlantic rim,” and “Afro-Atlantic art” ( Thompson 1983 : xv; Thompson 1995 : 50; Thompson 1987 : 41) to emphasize how Africa has participated in and defined the many worlds that have been touched by the Atlantic Ocean. Paul Gilroy utilized Thompson's first term and wrote a book on the Black Atlantic, which he frames as a culture inclusive of people who are African or have African heritage, along with other unempowered groups, such as indigenous people and people from Asia. His focus is on how people produce something new out of the historical experience of the transatlantic slave trade and colonialism that brought people together in the Americas, leading to the fractured identity among those oppressed resulting in what W.E.B. DuBois describes as “double consciousness” ( Gilroy 1993 : 16; DuBois 1903 ). These terms are helpful in some ways for talking about carnivals in Africa, but also problematic. Concepts of “Blackness” in Africa are signifcantly different from the Americas, and carnival history in Africa is not only tied to the Atlantic.

Every decentering requires new terms, and the scholars in this issue use many different phrases to describe complex performance events in Africa. With a continuance of this discussion, scholars can tease out the nuances through their research and reflect upon the how the African perspective of carnival might reorient our conversations. Here we offer an overview of carnivals in Africa in order to demonstrate how extensive carnival culture is on the continent and to point out complex local, regional, and international influences. This is an overview in broad strokes— not a systematic review of the literature—for the purpose of framing emerging scholarship on carnvial in Africa.

Because Africans have many processional traditions with masquerades, it should come as no surprise that Christian festivals and pre-Lenten carnival rituals would resonate in Africa. In close proximity to Europe, the sharing of goods and ideas between Africa and the broader region has been occurring since ancient times. With the improvement in seafaring navigation in the late fifteenth century, Portuguese explorers, traders, and missionaries (followed by other European contingents) became increasingly involved along the African coast. At this time, before the development of racial hierarchies, Africans and Europeans had more in common than not. This period of contact resulted in marriages and offspring that created mixed-race populations, whose Luso-African identity and higher status through connection to education and employment continues to this day—frequently predicated on language, religion, and skin color. This is particularly true with Carnival in Cape Verde, also known as “Creole Carnival,” which was heavily influenced by the Portuguese and in contemporary times is defined by Brazilian samba—an art form based on music and dance from Central Africa that was transformed by Afro-Brazilians ( Fig. 1 ).

Characters represent the variety of musical traditions in Cape Verde on this papier-mâché float. Represented are a funana musician with an accordion and a batuko performer with a traditional woven belt and a ferro , an iron instrument. Creole Carnival, Cape Verde, Santiago Island, February 12, 2013.

Photo: Šara Stranovsky

Carnival is celebrated on all the islands of Cape Verde for the three days before Ash Wednesday; the biggest carnivals are Mindelo on São Vicente and in Ribeira Brava on São Nicolau. The current carnival tradition can be traced back to the nineteenth century, possibly to the twelfth century. The end of carnival is referred to as “Carnival Funeral” or Mandinga funeral, which concludes carnival and honors the Black ancestors ( Positivosonline 2013 ). However, one could also say this is a ritual highlighting differences between Luso-Africans and their darker neighbors. Carnivals are often sites for expressing shared heritage as well as differences.

The Boujloud Festival in Morocco, popularly known as “Moroccan Halloween,” is a three-day event that derives from a Berber tradition wherein people parade around wearing sheepskin, goatskin, bird feathers, imported rubber masks, or charcoal face paint. It happens after Eid al-Adha, an Islamic celebration of Abraham's willingness to give up his son as an act of devotion to Allah. Masqueraders run into the crowd and touch the audience, especially children, with sheep hooves, which is understood as a blessing. The characters who wear scary masks are symbolic of good omens that repell evil ( El Amraoui 2014 ). This festival seems to navigate the relationships between Arab/Islamic and Berber identities as in Cape Verde.

In 1993, Doran H. Ross published a photo essay for African Arts on carnival in Guinea-Bissau, a pre-Lenten festival that begins on the Sunday preceding Ash Wednesday with masked children in groups meandering in an unplanned, casual march through the streets of Bissau past judges ( Fig. 2 ) ( Ross 1993 ). Ross's photo essay was meant to compliment the work of Daniel J. Crowley (1987) , whose interest in carnivals took him to Salvador, Brazil, and Guinea-Bissau (a Portuguese colony from 1879-1974). When Crowley and his daughter Eve Crowley conducted their research in Guinea-Bissau in the 1980s, performers wore papier maché masks of monstrous characters like dragons, sea creatures, and figures of the “occult.” As he described them, they exhibited “goggle eyes, beetling eyebrows, tongues, sharp shark's teeth, horns protruding from foreheads and jaws, barbed tails, weblike wings and ears, fish scales, beaks, and skull and crossbones …” ( Crowley 1989 : 76). There is no mention of the festival's origins, but he notes that government officials pondered “how best to use this living, popular festival in pursuit of national and even international goals” ( Crowley 1989 : 78). In line with the era, the government was already thinking about how festivals could benefit the nation.

Revelers appear in large papier-maché heads or in groups of performers in costume. In this image, a group wears bells around their waist and ankles, rope tied around their upper arms, various frilled headpieces, cut-off trousers with fringe, and a white substance smeared on their faces and bodies. Bissau Carnival, Guinea-Bissau, 2013.

Photo: Angela Marchisella

There are probably many more examples of Catholic and Islamic festivals and processions merged with local masquerades and other festival performances. As we look further down the coast, Islamic influences have decreasing prevalence due to the shift in demographics, while influences tied to the transatlantic slave trade become more prominent.

Lantern Festivals in Senegal, Gambia, and Sierra Leone have been discussed in publications by John W. Nunley and Judith Bettelheim in the mid-1980s as “festivals” and later by Jenny Oram as “parades” ( Nunley 1985 ; Bettelheim 1985 ; Oram 1998 ). A lantern procession is a parade of floats with layers of complex iconography that is easily comparable to other carnivals, but the term is not applied by Bettelheim. Although, she compares the houselike constructions of the lanterns in Senegal and Gambia to those worn in Jamaican Jonkonnu, particularly the “House John Canoe” character, who is linked to the resistance against White plantation owners in Jamaica 1 ( Bettelheim 1985 : 51-52, 1988: 48). While “festival arts” is a more comprehensive framework, perhaps scholars have also become accustomed to thinking of carnival as something that occurs in relationship to Africa, but outside of it.

Liberia and Sierra Leone received returnees from the Americas in the eighteenth and nineteenth centuries who brought many performance traditions with them, adding to the complexity and richness of the performance environment. Lantern Festivals in Freetown, Sierra Leone, were introduced in the 1930s by the trader Daddy Maggay. The events had been organized by the Young Men's Muslim Association (YMMA) and patroned by political groups, the military, and businesses. When Nunley documented the festivals in 1985, they aligned with the Muslim holy month of Ramadan. Since its recommencement following the civil war, the Lantern Parade has moved to the night before Sierra Leone's Independence Day, further aligning it with the nation-state rather than with religion ( Figs. 3 – 4 ). 2

This float depicts Sierra Leonean president Ernest Bai Koroma on a horse. He was running for reelection later that year and easily won. A number of floats promoting the ruling party as well as infrastructural projects they initiated, like roadworks, appeared in 2012. Lantern Festival, Freetown, Sierra Leone, 2012.

Photo: Sam Anderson

Former Liberian president Charles Taylor appearing before the International Criminal Court is reenacted on this float in 2012. The figure was puppeted to bow before the judge. Taylor received the guilty verdict for crimes against humanity during the Sierra Leone Civil War just a day before the procession, so artists must have organized this float at the last minute. Lantern Festival, Freetown, Sierra Leone, 2012.

Nunley's contribution to the understanding of carnival arts in the Caribbean and African Atlantic Rim cannot be overstated. He recognized an early link between Ode-Lay performances in Sierra Leone and carnivals in the Americas, but he did not apply the term “carnival” in the African context ( Nunley 1981 , 1987 , 2010 ). 3 Jollay (or Jolly) and Ode-Lay performances include strolling masquerades that rely upon dichotomies such as fancy versus fierce, include the inversion of social order, and operated as part of a resistance to colonial pressures. Influences for Jollay may have come from the Caribbean or Africa, but likely were a combination of both.

Nunley also speculates about the cross-fertilization of performance traditions up and down the coast. He compares Jollay masquerades in Freetown, Sierra Leone with Ghana's Fancy Dress in his chapter that discusses the confluence of performance influences present at the turn of the century that led to the creation of Jollay, a fancy performance celebrated on Christmas, Boxing Day, and New Year's Day ( Nunley 2010 ). Jollay in West Africa, like Jonkonnu in the Caribbean, includes masqueraders in fancy dress and warrior costume, which Nunley traces to Kru sailors, merchants, and migrants who came from Liberia to Sierra Leone, Ghana, and Togo in the nineteenth and early twentieth centuries. 4 The Kru had similar Christmas masking performances that derived from fairy tales ( Nunley 2010 : 60), which may explain the name for Fairy Jollay types ( Figs. 5 – 6 ). 5

A fancy fairie (fairy) masked devil of the Central Professor Jollay Society in the 2016 holiday celebration. Fairy Jollay, Freetown, Sierra Leone, December 27, 2016.

Photo: Amanda M. Maples

A Firestone Society fancy fairie (fairy) with a textile mask in Freetown to celebrate the New Year in 2017. Acrobatic Jollay, Freetown, Sierra Leone, January 2, 2017.

In Côte d'Ivoire, Popo Carnival in Bonoua is celebrated for two weeks every year around Easter. According to one website, Popo is an “accomplished word meaning mask.” Preceding the event are football (soccer) matches, street theater, and dances. After worship on Sunday, a parade appears with giant puppets, floats, folk dances, and brass bands ( Hutchinson 2016 ). The carnival, known for its “eccentric transvestites and its big popular ball to hunt ‘King Popo’ (a big papier-mâché monster),” includes parades of masked men who perform dances, “burlesque scenes,” and skits that may include a reenactment of the slave raids of prior centuries ( Petite Futé 2021 ). Like other carnivals across the Atlantic, many African carnivals are based around social hierarchies that emerged from ethnic rivalries, and slavery within the African continent is reenacted or “played” for cathartic effect enhancing social cohesion (i.e., Carnaval de Oruro in Bolivia and Fancy Dress in Ghana) ( Figs. 7 – 8 ).

A slavery-themed skit performed by Egyaa No. 2 in Masquefest 2012 is reenacted to promote healing from historic trauma and promote social cohesion. Fancy Dress, Winneba, Ghana, January 2, 2012.

Photo: Courtnay Micots

A slavery-themed skit performed by Red Indians No. 4 in competition promotes education and healing from historic trauma. According to one organizer, “We celebrate it for our young people to see how our forefathers suffer from that slave trade” (Ibrahim Sualla, interview by Courtnay Micots, December 29, 2021). Fancy Dress, Swedru, Ghana, December 25, 2021.

Fancy Dress, which occurs across four regions of southern Ghana, is held primarily between Christmas and New Year's Day. It stems from a confluence of performance activities on the coast since the late nineteenth century, including both local and foreign forms of dance, masking, skits, and theater. 6 While Courtnay Micots provides a broad discussion of this carnival in her article in this issue, simlar traditions have been performed in Lagos, Nigeria, reinforcing the influence of these festivals on neighboring communities. One website states that the Lagos Carnival is known as the “Fanti or Caretta Carnival of Lagos” ( Hometown.ng 2018 ). The inclusion of “Fanti” belies a possible Fante origin from the former Gold Coast, where Ghanaian Fancy Dress is held today. The Lagos Carnival takes place during the annual Lagos Black Heritage Festival in May. The carnival may date back to the colonial period and be inspired by the community of formerly enslaved Afro-Brazilian's migrants and their descendants ( Mark 2015 ; Hometown.ng 2018 ). Lagos Carnival today was “reinstated,” or perhaps reinvigorated, in 2010 with costumed performance troupes displaying an eclectic mix of Nigerian, Brazilian, and Cuban heritages ( Hometown.ng 2018 ). Like many of the carnivals along the coast, Lagos Carnival has a complex history deserving further research.

Other carnivals have popped up in Nigeria, such as Abuja Carnival (in Nigeria's capital), which features a parade of traditional dances from all over the country. However, the most successful is Calabar Carnival in Cross River State, which began in 2004 and has been branded “the biggest street party in Africa.” The types of traditional dances featured in the Abuja Carnival are relegated to a separate event in Calabar called “Cultural Carnival,” which is usually a day or so before the main event, Calabar Carnival. This state sponsored event is modeled after Trinidadian carnival, which has systematically been exported to many cities around the world with Trinidadian or Caribbean communities. Calabar is unique in that there is no Caribbean diaspora ( Carlson 2010 ). Inspiration has come from Brazilian carnivals too, although no direct Brazilian connection exists. Calabar's connection with the Caribbean was made tangible by a visit from a Cuban masquerade that is a direct descendent of the Cross River region, discussed in this issue by Ivor Miller. The carnival is also the focus of articles by Umana Nnochiri and Nsima Udo.

In the coastal city of Kribi, Cameroon, the Bantanga Carnival is organized by the Batanga people and is considered a “commemorative festival”(see Miller, this issue). Based upon annual collective rites of individual communities, this large-scale (or unified) event with participants from all villages was established in 1916 to celebrate the return of thousands of Batangas who had been deported to other parts of Cameroon due to fighting between Germans and French in World War II. The Batanga Carnival includes a huge parade with floats representing the ships used to deport the people in 1914, and the mermaid water spirit and her attendants. The event incorporates ethnic groups from all over Cameroon who reside in Kribi ( Fig. 9 ). In innovative and symbolically potent ways, the processions and floats of the Batanga carnival encapsulate the history and values of the people, that are celebrated and elevated through ensemble performance. 7

During Batanga carnival, a float represents a ritual canoe with a raffia skirt used for rites of the jengu “water spirit” society, with a leader in the prow holding a red-dyed raffia whisk. The canoe is wrapped in cloth commemorating the deportation of Batanga people in 1914. Batanga Carnival, Kribi, South Province, Cameroon, May 2012.

Photo: Georges G. Dimwemwe Mabele

The Lower Guinea Coast offers numerous research opportunites for anyone interested in carnival. The region has a particularly complex carnvial history that includes cultural convergences and government involvement.

East Africa, and especially the Swahili Coast, is a melting pot of cultures, religions, and polities resulting from Indian Ocean trade networks and trade with the hinterlands. Other factors include a long history of slave trading (distinctively different from the transatlantic slave trade in terms of duration and practice), early Greco-Roman influence, Portuguese influence, and European colonization.

Today in Ethiopia and Eriteria, where they have the oldest Christian cultures on the continent, the Ashenda (or Ashendiye) Festival occurs in August and has its roots in older traditions such as the Christian celebration of the ascension of the Virgin Mary into heaven. Costumed revelers throw necklaces of flowers and palms into the crowd while shaking their shoulders to the beat of the kebero drum ( Figs. 10 – 11 ). Ashenda takes place in Lasta Lalibela, North Sekota, and Tigray and marks the end of a two-week-long fast known as Filseta. Known as “Ashenda” in Tigray, “Shadey” in Wag Hemra, and “Solel” in Raya Kobo, these events are a “joyous outburst of tradition that engulfs locals with cheer” ( Sahle 2016 ). Online sources refer to these events as festivals and/or carnivals.

Ashendiye marks the end of a sixteen-day fast. It is celebrated annually with traditional dressing, cultural costumes, and dances. Girls are the main participants of the festival, dressed in traditional clothes decorated with long grasses and singing traditional songs in groups according to their ages. Girls gather in their village and go house to house singing and playing drums. Owners of the houses usually give them money, food, or other items for their effort. Then the gifts that are collected from the community members are offered to poor people. Lalibela, Ethiopia, August 2019.

Photo: Sehin Tewabe

Ashendiye is usually celebrated for a successive three to ten days in August. Though mainly a female-dominated event, young boys also have a role. Lalibela, Ethiopia, August 2019.

Beni ngoma dances across eastern Africa were studied by Terence Ranger as “a parody and a consummation of military drill,” but not as a carnival per se. Competitive dances between ngoma societies “imitated” European dress and were conducted as a form of mockery during the time of colonialism; apparently they no longer exist ( Ranger 1975 : vii). These events included boat floats and African-styled European military uniforms that have been richly described in colonial reports, interviews, and other scholarly sources, 8 but we could not locate visual documentation. It would be interesting to compare how events such as this functioned in comparison to Black Atlantic carnivals with regard to publicly acceptable forms of subtle protest.

In Kenya there is the Mombasa Carnival, which occurs in November and is organized by the Ministry of Tourism. It is publicized as a “street party” consisting of two parades that converge on Moi Avenue. The carnival is publicized in tourist guides and features the city's multicultural communities represented by music, dance, performers in costume, and floats ( Lonely Planet 2019 ). There is also the Maulidi Festival celebrated by Swahili people that attracts visitors from all corners of the world. Tom Mboya Olali, professor at the University of Nairobi, writes, “Lamu Maulidi [on Luma Island] is a hybrid festival that is part pilgrimage, part carnival, and part mystical Islamic ceremony.” While it is associated with the birthday of the Prophet Muhammad, its inception is a mystery and may be linked to Egyptian events in the eighth century; however, the unique Lamu version is believed to have been developed by Habib Swaleh Jamal al-Layl after 1866. Some of the pilgrims participate in the festivities by visiting the nearby town of Shela and participate in the dancing, engage with women of loose virtue, and imbibe alcohol ( Olali 2015 ), which sounds more like carnival, with its upending of rules, than a traditional Islamic festival. Olali explains,

Like any festival, the Maulidi is both a ceremony (that is, a ritual event whose stages are rather precisely defined) and an entertainment, containing a certain measure of exuberance. In regard to my use of the word “carnival,” whose ambiguity is fairly evident, I use it here without any particularly nuanced purpose, but simply in order to convey the massive extent to which people take part in the pilgrimage, and also to suggest that the Maulidi is a demonstration of a particular religious sensibility which combines feelings of wonder and of emotion with a sociability deriving from an assembly of the entire Swahili community in the Lamu archipelago ( Olali 2015 ).

Thereby, Olai points out how slippery the term “carnival” can be.

The Quelimane Carnival takes place in the capital of Mozambique, a former Portuguese colony, and is referred to as the carnival of “Little Brazil.” During colonial times, the carnival was celebrated in club halls, where both colonialists and freemen participated. In 1990 the carnival began to be celebrated in street parades in late February/early March. Festivities start with bands and singers performing on Friday night. Parades consist of floats and performers in costume. According to one website, “During the festivities, the participants wear masks, mostly homemade, which reflect the appearance of some animals of the region. Likewise, these masks are also vehicles for protests of the events that happened during the colonization process of Mozambique” (Ramon n.d.). Across the continent, it seems that carnivals are a publicly efficacious way to examine the injustices of colonialism.

While central African influences upon carnival in the Americas have been widely recognized, we did not uncover much scholarship or online presence about carnivals in central Africa, with the exception of Luanda Carnival. 9 This is surprising because of the long history of Portuguese involvement and strong connection to the transatlantic slave trade. Specialists in this region may have more to contribute that we could not find.

Luanda Carnival in Angola stands out as one of the oldest carnivals on the continent. David Birmingham describes carnival in Angola as a “flexible response to the traumas of change.” Beginning as early as 1620, carnival has been used by the populace to exhibit carnivalesque sentiments under a variety of regimes. The date of March 27 was selected in 1987 by political leaders to coincide with the date of the South African withdrawal from Angola in 1976 and thus is not linked to the Lenten calendar. Carnival groups are led by a President, King, Queen, and Count, each with special roles to play. Behind them are the musicians playing a variety of percussion instruments, especially drums. They have “charm carriers” who spiritually protect the drums from damage by rivals ( Birmingham 1988 ). Like all the other examples we've mentioned, traditional culture is inserted or referenced in carnival. However, this appears to be more than a nod to traditional culture.

Much has been written about carnivals in South Africa, but the broader region has numerous carnivals, sometimes with many of the same artists in participation. 10 In Cape Town, South Africa, Kapse Klopse is an annual event that began in the 1880s-1890s. It takes place on New Year's Day in the area of Bo-Kaap. In the morning people gather in the street and march, singing, dressed in colorful uniforms with face makeup in black, white, or glittering colors ( Fig. 12 ). The parade includes band and drum-major performances. Trophies are given for the “best dress” and “best board,” a carved or painted emblem the troupe carries on top of a pole. The carnival is also known as “Coon Carnival,” which appropriates the derogatory historical term used in the United States to refer to a Black person. This carnival includes the mimicry of American minstrelsy, a form of racist entertainment that stemmed from early nineteenth century parodies using stereotypes of African Americans. Denis-Constant Martin's research on Kapse Klopse explores how this event contribute to the development of a “coloured” identity and a reclaiming of space within Cape Town ( Martin 1999 , 2000 ). It's not surprising that concepts of race have shaped carnivals in South Africa, given that racial categories and geographic boundaries were used as a form of oppression during Apartheid.

Board and musicians of the Young Happy Boston Klops, during the Tweede Nuwe Jaar (second new year) street parade (Wale Street). Kapse Klopse, Cape Town, South Africa, January 3, 1994.

Photo: Denis-Constant Martin

Cape Town Carnival is the city's other carnival, organized by a team of individuals, mostly White, who secure funding from a variety of corporate sponsors ( Figs. 13 – 14 ). Held in mid-March, this parade is more elaborate, with large floats and stunning costumes, demonstrating the imbalance of funding and racial power in South Africa. Despite the label of Carnival, little was observed in 2014 (by Micots) of direct carnivalesque characteristics. Rather, the event seemed to be more of a celebration to enhance community unity. Indirectly the “White” Cape Town Carnival seems to highlight the disparity of social and economic status that is aligned with racial categories in Cape Town and South Africa more broadly.

Cape Town Carnival is a newer event with groups of costumed performers, bands and floats in procession in Bo-Kaap that focuses on South Africa's heritage. Cape Town, South Africa, March 14, 2015.

The secular Cape Town Carnival is organized by a team of individuals, mostly White, who are able to secure corporate sponsors to support a lavish annual parade in mid-March. Cape Town, South Africa, March 14, 2015.

Photo: Courtnay Micots, March 14, 2015

In Johannesburg, the Joburg Carnival stems from preexisting carnivalesque street parades that have existed since South Africa gained independence in 1994. These events are produced by multiethnic communities that continue to face considerable social and economic challenges in post-Apartheid South Africa. In 2004, the city-sponsored event on New Year's Eve grew from a desire for social cohesion in the midst of contemporary xenophobia and past traumas that continue to weigh deeply upon the social fabric of the country ( Fig. 15 ). Early parades included overt political messages, such as the Hector Pieterson Float for the September 3, 1994 Children's Creativity Pageant that recreated in papier-maché the famous photograph of a wounded boy (Pieterson) carried in the aftermath of the Soweto Uprising in 1976 ( Fig. 16 ). The Joburg Carnival is now overseen by the government and it is packaged as a joyful celebration to bring about social cohesion, but other messages appear as well. A performer in a backpack costume 11 pulled a large extension resembling a wheel of cheese with a section cut out. On the top were houses representing the neighborhood of Alexandria, divided from the finer homes and skyscrapers by a train. In 2012, when this costume appeared, Alexandria was experiencing rat issues. The costume was a subtle message that “politicians were eating away at them [community members],” in much the same way rats would eat cheese ( Micots 2017 : 97). Carnivals in South Africa clearly offer opportunities for critique while attempting to envision a better future.

A variety of performers appear in the city-sponsored Joburg Carnival, including the parade leader in a fancy “Indian” costume, a local youth group wearing Ndebele beading, stilt walkers, and papier-mâché heads denoting popular figures from South Africa's history. Joburg Carnival, Johannesburg, South Africa, December 31, 2014.

The Hector Pieterson Float was designed by Lucas Matome for the Children's Creativity Pageant, organized by the Afrika Cultural Centre. Johannesburg, South Africa, September 3, 1994.

Photo: Kamal El Imam El Alaoui

Carnaval de Madagascar in Antananarivo is an example of a more recent creation; it began in 2015. This three-day event is a celebration of Malagasy cultural heritage. It occurs in June when community festivals celebrating harvests and the ritual reburial of ancestors traditionally take place in Madagascar ( Petite Futé 2021 ). The incorporation of preexisting rituals and festivals is a common theme. It may also be that event organizers know that placing the term “carnival” on these events may bring in a broader audience with the intention of building tourism.

The contributors to this volume demonstrate how a focus on carnival in Africa not only provides insights into specific African traditions but also raises many questions about how we define and think about carnival when we lean away from the Americas as the gold standard. The articles in this special issue stem from a specific area spanning the coastal regions of Ghana to Cameroon and illustrate the breadth of performances that exist in this region of Africa.

Umana G. Nnochiri's article, “Calabar Carnival and the Theme of Migration: A Designer's Perspective,” providers an insider's perspective on carnival and reminds us of the many artists and creators who build and perform carnival each year. Their voices are too often left out of publications about carnival and yet their perspectives are critical for understanding these events. Nnochiri is particularly well positioned to write about carnival because she has designed the costumes for the Passion 4 band for over a decade, contributing to the success of this band that takes home many prizes. She comes to this role with many skills as a textile artist, fashion designer, college professor, and community facilitator. Nnochiri writes specifically about the 2017 Carnival because of the importance and magnitude of its theme, “Migration,” which touches upon the DNA of carnival. She provides many insights into how Nigerians “tell stories” through a specific type of historical narrative from the perspective of the Nigerian experience. These historical narratives often appropriate the voice of objectivity, presenting both the positive and negative sides along with overt critique or criticism of social and historical circumstances. Unexpected topics for carnival revelry, such as Libyan jails, organ harvests, and taxi drivers, offer a frank look at the harsh realities of contemporary migration. In this way, historical narratives about migration offer a warning reminiscent of a public educational campaign along with homages to traditional culture mixed with beads and bikinis. Umana Nnochiri provides a thorough discussion of how this all comes together.

Nsima Stanislaus Udo is a PhD candidate in history at University of the Western Cape, Bellville, South Africa, who has returned home to Nigeria to complete dissertation research on Calabar Carnival from the local perspective and to explore what it means to have an insider's perspective. In his photo essay, “Calabar Carnival: Visualizing Cultural Authenticity and the Paradigm of the Street,” Udo shares aspects of his emerging research that includes an analysis of Calabar Carnival through the lens of photography and the significance of visual representation, which is central to the carnival experience. Udo, who writes “the street functions as a respatialized landscape through which culture is intensely visualized, and visuality is performed, curated and exhibited,” touches upon an extremely important element of contemporary carnivals—image making and image distribution via new media platforms. He also points out the importance of how performers move through the streets of Calabar and reflects upon the realities of daily life in contrast to the narrative of carnival through a collection of photographs that present these tensions.

“From Ritual to Carnival: Sacred Processions and Solidarity in Calabar, Cameroon, and Cuba” by Ivor Miller, who has lived and worked in Nigeria and Cuba for decades, explores the complicated relationship between carnival events, emphasizing innovation and competition and sacred processions that establish continuity. At the center of his research is the Calabar-Cuba continuum—the entwined histories of the Cross River region in southeastern Nigeria and southwestern Cameroon and Cuba due to the transatlantic slave trade. The author explores how the concept of community based on a relationship between the living, the ancestors, and the land through a discussion that brings together the annual Batanga carnival in Kribi, Cameroon; the Ékpè “leopard” society processions of Calabar; the modern State-sponsored carnival of Calabar; and the presence of Abakuá, Cuba's variant of Ékpè, in Havana carnival processions. Miller describes how sacred processions have become mixed in with a variety of events that are described as carnival and how this can support, transform, or undermine ritual institutions.

Elyan Hill's “Dancing Altars: Carnivalesque Performance in a Festival in Togo” addresses a religious festival (Epé Ekpé), which, unlike carnival, is performed by initiated members whose bodies become extensions of Vodun altars. Hill explores how the ritual elements of this religious festival align with the functions of carnival, utilizing carnivalesque adornments, and creating carnival space. Hill's approach requires that we look beyond carnival as an event and consider how carnivalesque elements have been incorporated into other performance traditions. Similar to other carnival events, the Epé Ekpé Festival involves migration narratives, emerging tourist markets, references to slavery in both the West African and transatlantic contexts, navigating local/regional diasporas, and visual excess.

In “Power and Play: Fancy Dress Carnival in Ghana,” Courtnay Micots summarizes her findings from ten years of research on Fancy Dress, a performance tradition that is over a century old. Today, carnivals in southern Ghana include parades and competitions where new choreography, music, characters, and costume materials are constantly evolving. Micots discusses how the masquerade practice was informed by other Atlantic Rim carnivals but also local performances. She discusses how Fancy Dressers negotiate modernity and authority through a long tradition of carnival as a site of both cultural celebration and resistance in relation to the history of this region.

These articles as a whole offer a glimpse into the complex tapestry of carnival research in Africa, where carnival events operate as a nexus of many streams of influence. It is time to reorient the conversation around carnival, which is often tied to the Atlantic, to include those occurring across the African continent. Whether carnivals have been practiced for over a century or are new ventures, performances help navigate cultural convergences, social hierarches, and political authority while using bodies creatively beneath the guise of costume and mask to upturn everyday experiences and make a festive period of abundance, inclusion, and joy. While “carnival” is increasingly being used as shorthand for “festivals” in global terms, we need to recognize that the term has never really been tied to one type of event. Perhaps it's better to examine our assumptions about carnival, as well as its current usage, and accept that carnivalesque behavior is human behavior that has been funneled into some pretty great parties around the world. Join the party; more research needs to be done.

Enslaved Africans sold from the Gold Coast (present-day Ghana) in the early eighteenth century carried with them memories of their hero John Conny, who fought successfully against the Europeans. Shortly thereafter lively street parades in Jamaica with masked performers shouted “John Connu” at plantation houses, perhaps in defiance. The “House John Canoe” character was illustrated by Isaac Mendes Belisario and published in 1837 ( Bettelheim 1988 ; 1979 : 10). Different accounts exist for how “Jonkonnu” became the masquerading term.

Samuel Mark Anderson explains that “given the sponsorship of major local businesses and the organization and judging of the government, the participants are inclined to create scenes that range from banal scenes of ‘tradition’ to government propaganda. If I were to offer a provisional analysis, I'd lean towards Mbembe's discussion of the ‘banality of power in the postcolony’ where, rather than subverting hierarchies of power, people elevate and play with the symbols of that power” (Samuel Mark Anderson, email communication, November 9, 2021; see Mbembe 1992 ).

For a comparison between Ode-Lay and Jolly with Fancy Dress in Ghana that exemplifies this idea of Black Atlantic carnival traits, see Micots 2021 : 237-68.

Amanda M. Maples, curator of African art at the North Carolina Museum of Art, is currently researching these Freetown performances for an exhibition and publication project.

Nunley explores connections to Ibibio and Baga masquerades, concluding that other “fancy cross-dressing costumes of young men's entertainment societies are found along the West African coastline from Guinea to Angola” ( Nunley 2010 : 62-65).

In an early twentieth century journal, Robert Ernest McConnell writes about a carnivalesque performance that he witnessed during a Christmas visit to Lagos. He describes a “wild orgy of [?] and dancing …. expects a dash …. may bedeck himself with feathers and other parts, while around their ankles is a collection of metal-ware, largely discarded sardine times. All day long this is kept up! … in the Wangara quarter …. Among the companies of the Lagos people will be found men dancing on stilts with perhaps grotesque head-dresses …. an indecent dance” (Robert McConnell, Ernest. ca. 1910. Wellcome Institute Library (London) MS3355).

Ivor Miller, email communication, November 9, 2021.

The Papers of Professor Terence Osborn Ranger archive at the Bodleian Libraries in Oxford, England unfortunately does not contain any images either (Lucy McCann, email communication, November 4, 2021).

We were wondering if carnival traditions exist somewhere along the Congo River in places like Libreville, Bata, Port Genbi, Madingo-Kayes, Pointe-Noire, Kinshasa, and Brazzaville.

Carnival circuits and carnival diplomacy are another area deserving of more research. It's worth noting that Rwanda, which does not host carnival, has a national dance troupe with a rigorous international touring schedule that includes appearances at carnivals in Africa and elsewhere.

These costumes have an armature that fits onto to the performer, usually over the shoulders and/or around the waist, to support a larger extension overhead, behind, or around the performer.

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Essay on Food Festival

Students are often asked to write an essay on Food Festival in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Food Festival

Introduction to food festival.

A Food Festival is a fun-filled event where different kinds of foods from various cultures are showcased. It’s a place where food lovers gather to taste and appreciate diverse cuisines.

The Joy of Food Festivals

Food Festivals bring joy and excitement. They allow us to explore new flavors, learn about different cultures, and make new friends. It’s not just about eating; it’s an educational and social experience.

In conclusion, Food Festivals are a celebration of culinary diversity. They offer an amazing opportunity to try new foods, learn and have fun.

250 Words Essay on Food Festival

Introduction.

Food festivals are lively events that celebrate the rich tapestry of culinary delights. They are a testament to our human penchant for creativity, variety, and our shared love for food. They serve as platforms where traditional, exotic, and fusion foods from various cultures converge.

The Essence of Food Festivals

At the heart of every food festival is the celebration of gastronomy. It’s an opportunity to explore the diversity of food cultures and the social interactions they foster. Food festivals are not merely about the consumption of food, but also about understanding its origin, preparation methods, and the stories behind each dish.

Impact on Local Economy

Food festivals significantly contribute to local economies. They attract tourists, boost local business, and promote local produce. For many small-scale producers and restaurateurs, these festivals provide an opportunity to showcase their products to a larger audience, fostering entrepreneurship.

Cultural Exchange

Food festivals also act as melting pots of culture. They offer a unique platform for cultural exchange, where people can experience different cuisines from around the world. This not only broadens one’s culinary horizons but also promotes mutual understanding and respect among diverse cultures.

In conclusion, food festivals are more than just a feast for the palate. They are social and economic events that celebrate diversity, foster cultural exchange, and stimulate local economies. As we relish the myriad flavors offered, we also partake in a shared human experience, relishing the global camaraderie that food uniquely brings.

500 Words Essay on Food Festival

Introduction to food festivals.

Food festivals, a remarkable amalgamation of culture and cuisine, are an integral part of the global social fabric. These events offer a platform for communities to celebrate their culinary heritage, explore diverse cuisines, and promote the local food industry.

Food festivals are more than just about food. They are a celebration of the rich tapestry of culture, tradition, and community. They provide an opportunity for people to come together, share experiences, and learn about different cultures through their unique cuisines. These events are not just for food enthusiasts, but for anyone who appreciates the art of cooking and the joy of eating. They serve as a gateway to explore new flavors, ingredients, and cooking techniques.

Food festivals play a significant role in boosting local economies. They promote local businesses, farmers, and food producers by providing them with a platform to showcase their products and services. These events also attract tourists, contributing to the local tourism industry. The economic benefits extend beyond the festival days, as they often result in increased patronage for local businesses and improved reputation of the region as a culinary destination.

The Educational Aspect

Food festivals are also educational. They offer a unique opportunity to learn about the history and tradition of different cuisines. Cooking demonstrations, workshops, and seminars conducted during these events provide valuable insights into the culinary arts. They also promote healthy and sustainable eating habits by educating the public about the importance of local, organic, and seasonal food.

Food Festivals and Socialization

Food, being a universal language, bridges cultural gaps and brings people together. Food festivals foster a sense of community and promote social interaction. They provide an environment where people can engage in conversations, share stories, and create memories while enjoying a meal. This social aspect of food festivals amplifies their appeal, making them a popular social event.

In conclusion, food festivals are a celebration of culinary diversity and cultural heritage. They play a crucial role in promoting local economies, educating the public about food and culture, and fostering social interaction. In a world that is increasingly globalized yet culturally diverse, food festivals serve as a reminder of our shared love for food and the joy it brings to our lives. They are a testament to the fact that food is more than sustenance; it is a symbol of our identity, tradition, and community.

That’s it! I hope the essay helped you.

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• Essay on Festivals of Kerala
• Essay on Festival of Odisha
• Essay on Ugadi Festival

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Merdeka Day Celebration

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On 31st of August 2012, our nation is 55 years old. 31st of August 1957 is an important date to remember in every single citizen of Malaysia due to it was the day our country achieved independence from Britain. The celebration of Merdeka Day was grand due to it is an important day for every Malaysian. As a student from Institut Pendidikan Guru, I had the chance to celebrate merdeka day in Stadium Bukit Jalil with others because I was going to have choir human graphic performance on that particular day in the year of 2012.

By using LED board with some accessories such as remote control, tripod stand and batteries, we were able to perform choir human graphic. With excited, we were being trained by the instructors for the performance for 6 days which was from 25th of August 2012 to 30th of August 2012. Departing from our IPG Campus Ipoh in the morning of 25th August 2012, we moved to our “new hostels” which was located at College 11 of University Putra Malaysia. After practised for a few days, we had rehearsals for all the performances before the day of merdeka. On 31st of August, we had our dinner at 3 o’clock in the afternoon.

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Going to the Stadium Bukit Jalil by buses, we spent more minutes than usual as there was a heavy traffic. Police were carried out their duties to block some roads which is near to the Stadium Bukit Jalil. We arrived at the stadium at about 4. 30 p. m. , there were crowded by people with different races, cultures and religions since Malaysia is an united country which is famous with multiraces living together in a country. Many volunteers from NGOs, such as Red Crescent Society, Civil Defence and St. John Ambulance were well prepared when we arrived there.

They carried out their duties in case of any emergency cases happen. Although the celebration begun at 8 p. m. , but we prepared well with all our accessories and LED board in our sit at 5 o’clock in the evening. Due to the people in the stadium is 10,000, we were being ordered by instructors to prepared well and sat at our place early and testing our LED board whether it can function well or not. There were some performances such as wushu, dancing and singing is carried out by the performers before 8 p. m.. We enjoyed watching the performances which is fantastic because of the performances was performed by artists.

Shouting and yelling crazily, the stadium was being filled with our sound. We saw many people in the stadium with different colour of shirts which are red, yellow, green, blue and white. Every corner of the stadium was fully filled with the audience and performers. It looked extraordinary when every group of people sitting together with same colour of shirts which was different from the group next to them. When the clock showed that it was 8 o’clock at night, the celebration started on time. Firstly, the Prime Minister and others ministers had a unity walk with all cameras forcusing on them.

When they were walking along the running track in the Stadium Bukit Jalil, the patriotic songs were played, followed by our national anthem, “Negaraku” when all the ministers were sitting on their own seats. I felt touching when the national anthem was played. Waving different size of flags together by the audience when patriotic songs were played, we felt that it was fabulous. After that, the celebration was continued with the chairman of the ceremony giving his speech followed by our dearest Prime Minister gave his speech. With applause, the prime minister ended his speech. Twitter with our Prime Minister was the following event.

We had broken records of tweet in the same time for 10,000 people and the most tweets in the time of an hour. It was a glorious moment since we were breaking the records. I felt fun to tweet with our Prime Minister, other ministers and the audience whoever in the Stadium Bukit Jalil. Our Prime Minister also gave some rewards for the people who made our country proud. For example, Dato Lee Chong Wei, badminton player who won silver medal in Olympics 2008 and 2012, Dato Nicol David, world champion squash player and Pandelela Rinong who won the bronze medal in the 10m diving event at the 2012 Olympics in London.

All of us clapped our hands with screaming respectfully. Then, the performances which included “Tarian Kilat”, “Songka Gadai” and “ Go Malaysia Go” were started. Having patriotic feeling, I sang with the songs of Jalur Gemilang, Tanggal 31 and others patriotic songs when it were played. All the events were marvellous and fascinated. When we were watching all the events from our seats, we felt that it was very spectacular. I felt happy and interesting as I can watch all the performances by live, feeling the surrounding of the events.

The events were ended by 10. 30 o’clock at night. When it was finished, all the ministers and most of the audience were begun to left the stadium while all of IPGM students still on their seats. Some local singers were performing on the stage of Stadium Bukit Jalil. The lucky draw of that night started at 11 p. m.. There were 2 cars, 4 motorcycles, tickets to London, bicycles, and ipad to be winning back Not that lucky, I do not win anything. We left the seats in the stadium at 12a. m. because of the trafic jams made our buses cannot exit the stadium earlier.

When the event ended, we felt that it was a memorable experience for us in our life. Although we felt tired, we were still very happy and proud to have good performances since it was very meaningful. I felt patriotism after I took part in the event. If there is a chance in future, I am willing to take part again. I learnt that cooperation from everyone is very important to obtain success based on the merdeka day celebration that I had taken part. Cooperation between members while performing our event is the key to have a perfect show.

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Members of Paramount Global's board agreed on Wednesday to enter into exclusive merger talks with Skydance Media, favoring the independent studio over a $26 billion offer from Apollo Global Management , a person familiar with the matter said.

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When I Became a Birder, Almost Everything Else Fell Into Place

Mr. Yong is a science writer whose most recent book, “An Immense World,” investigates animal perception.

Last September, I drove to a protected wetland near my home in Oakland, Calif., walked to the end of a pier and started looking at birds. Throughout the summer, I was breaking in my first pair of binoculars, a Sibley field guide and the Merlin song-identification app, but always while hiking or walking the dog. On that pier, for the first time, I had gone somewhere solely to watch birds.

In some birding circles, people say that anyone who looks at birds is a birder — a kind, inclusive sentiment that overlooks the forces that create and shape subcultures. Anyone can dance, but not everyone would identify as a dancer, because the term suggests, if not skill, then at least effort and intent. Similarly, I’ve cared about birds and other animals for my entire life, and I’ve written about them throughout my two decades as a science writer, but I mark the moment when I specifically chose to devote time and energy to them as the moment I became a birder.

Since then, my birder derangement syndrome has progressed at an alarming pace. Seven months ago, I was still seeing very common birds for the first time. Since then, I’ve seen 452 species, including 337 in the United States, and 307 this year alone. I can reliably identify a few dozen species by ear. I can tell apart greater and lesser yellowlegs, house and purple finches, Cooper’s and sharp-shinned hawks. (Don’t talk to me about gulls; I’m working on the gulls.) I keep abreast of eBird’s rare bird alerts and have spent many days — some glorious, others frustrating — looking for said rare birds. I know what it means to dip, to twitch, to pish . I’ve gone owling.

I didn’t start from scratch. A career spent writing about nature gave me enough avian biology and taxonomy to roughly know the habitats and silhouettes of the major groups. Journalism taught me how to familiarize myself with unfamiliar territory very quickly. I crowdsourced tips on the social media platform Bluesky . I went out with experienced birders to learn how they move through a landscape and what cues they attend to.

I studied up on birds that are famously difficult to identify so that when I first saw them in the field, I had an inkling of what they were without having to check a field guide. I used the many tools now available to novices: EBird shows where other birders go and reveals how different species navigate space and time; Merlin is best known as an identification app but is secretly an incredible encyclopedia; Birding Quiz lets you practice identifying species based on fleeting glances at bad angles.

This all sounds rather extra, and birding is often defined by its excesses. At its worst, it becomes an empty process of collection that turns living things into abstract numbers on meaningless lists. But even that style of birding is harder without knowledge. To find the birds, you have to know them. And in the process of knowing them, much else falls into place.

Birding has tripled the time I spend outdoors. It has pushed me to explore Oakland in ways I never would have: Amazing hot spots lurk within industrial areas, sewage treatment plants and random residential parks. It has proved more meditative than meditation. While birding, I seem impervious to heat, cold, hunger and thirst. My senses focus resolutely on the present, and the usual hubbub in my head becomes quiet. When I spot a species for the first time — a lifer — I course with adrenaline while being utterly serene.

I also feel a much deeper connection to the natural world, which I have long written about but always remained slightly distant from. I knew that the loggerhead shrike — a small but ferocious songbird — impales the bodies of its prey on spikes. I’ve now seen one doing that with my own eyes. I know where to find the shrikes and what they sound like. Countless fragments of unrooted trivia that rattled around my brain are now grounded in place, time and experience.

When I step out my door in the morning, I take an aural census of the neighborhood, tuning in to the chatter of creatures that were always there and that I might have previously overlooked. The passing of the seasons feels more granular, marked by the arrival and disappearance of particular species instead of much slower changes in day length, temperature and greenery. I find myself noticing small shifts in the weather and small differences in habitat. I think about the tides.

So much more of the natural world feels close and accessible now. When I started birding, I remember thinking that I’d never see most of the species in my field guide. Sure, backyard birds like robins and western bluebirds would be easy, but not black skimmers or peregrine falcons or loggerhead shrikes. I had internalized the idea of nature as distant and remote — the province of nature documentaries and far-flung vacations. But in the past six months, I’ve seen soaring golden eagles, heard duetting great horned owls, watched dancing sandhill cranes and marveled at diving Pacific loons, all within an hour of my house. “I’ll never see that” has turned into “Where can I find that?”

Of course, having the time to bird is an immense privilege. As a freelancer, I have total control over my hours and my ability to get out in the field. “Are you a retiree?” a fellow birder recently asked me. “You’re birding like a retiree.” I laughed, but the comment spoke to the idea that things like birding are what you do when you’re not working, not being productive.

I reject that. These recent years have taught me that I’m less when I’m not actively looking after myself, that I have value to my world and my community beyond ceaseless production and that pursuits like birding that foster joy, wonder and connection to place are not sidebars to a fulfilled life but their essence.

It’s easy to think of birding as an escape from reality. Instead, I see it as immersion in the true reality. I don’t need to know who the main characters are on social media and what everyone is saying about them, when I can instead spend an hour trying to find a rare sparrow. It’s very clear to me which of those two activities is the more ridiculous. It’s not the one with the sparrow.

More of those sparrows are imminent. I’m about to witness my first spring migration as warblers and other delights pass through the Bay Area. Birds I’ve seen only in drab grays are about to don their spectacular breeding plumages. Familiar species are about to burst out in new tunes that I’ll have to learn. I have my first lazuli bunting to see, my first blue grosbeak to find, my first least terns to photograph. I can’t wait.

Ed Yong is a science writer whose most recent book, “An Immense World,” investigates animal perception.

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The Francis Scott Key Bridge collapse is impacting cruises and could cause up to $10 million in losses for Carnival

By Caitlin O'Kane

Updated on: March 28, 2024 / 10:22 PM EDT / CBS News

The Francis Scott Key Bridge collapse  has impacted cruise travel in Baltimore. Carnival Cruise Line had to temporarily move its Baltimore operations to Norfolk, Virginia, as the Baltimore Harbor has been closed to marine traffic — which could cause up to a $10 million monetary loss for the company. 

The company's ship, Carnival Legend, was scheduled to return to Baltimore on  Sunday, March 31, but guests will instead go to Norfolk. There will be a complimentary bus service to get back to Baltimore from that port, Carnival announced on Tuesday . The drive between these cities could be up to five hours long. 

The upcoming Carnival Legend cruise on March 31 will depart and return to Norfolk. 

"Our thoughts remain with the impacted families and first responders in Baltimore," Christine Duffy, president of Carnival Cruise Line, said in a statement. "We appreciate the pledge made by President Biden today to dedicate all available resources to reopen Baltimore Harbor to marine traffic as soon as possible. As those plans are finalized, we will update our future cruise guests on when we will return home to Baltimore, but in the meantime, we appreciate the quick response and support from officials in Norfolk."

"We will continue to actively monitor the situation and look forward to getting back to Baltimore as soon as possible," a Carnival spokesperson said in a statement to CBS News.

As for the impact on business, the spokesperson told CBS News the company expects a less than $10 million impact on both adjusted earnings before interest, taxes, depreciation, and amortization as well as its adjusted net income for the full year 2024. 

Cruise Lines International Association , the largest cruise industry trade association, says 12 cruise ships made 115 trips through Baltimore in 2024. And in 2023, about 444,000 cruise passengers moved through the port, the 29th largest in the U.S.

Other cruise companies like Royal Caribbean and American Cruise Lines also have ships that go to Baltimore, however, it is unclear if those lines have been impacted yet. CBS News reached out to several cruise companies for comment. 

The bridge collapsed around 1:30 a.m. on Tuesday when a cargo ship, called the Dali , lost power and crashed into one of the bridge's columns. The ship made a mayday call ahead of the crash and first responders were able to prevent cars from driving onto the bridge, but eight construction workers  were on the structure pouring concrete.

Two of the construction workers were recovered alive, but the other six were presumed dead on Tuesday. Two bodies were found in a construction vehicle  submerged in the water on Wednesday. 

Following the incident, Maryland Governor Wes Moore declared a state of emergency and President Biden said the federal government would pay for the entire cost of reconstructing the bridge, which is still sitting in the river, on top of the cargo ship, which had 22 people on board – none of them harmed.

Baltimore is the ninth-busiest port in the nation and handled a record 11.7 million tons of cargo last year,  the Associated Press reports. More than 50 shipping and cruise ship companies do business with the port, mainly moving cars, coal, wood, steel, aluminum, home appliances, furniture, sugar and liquefied natural gas. 

"For everybody who is buying cars, for everybody who is (buying) farm equipment, we're the largest port in the country that does that," Maryland Gov. Wes Moore said . "So this is not just impacting Maryland."

Shipping companies and automakers will likely divert ships heading to Baltimore to other East Coast cities, experts say, according to the AP.

Ships waiting to get into Baltimore were stalled after the incident, with many drifting in the North Atlantic, waiting to be assigned to a new port, according to Windward Maritime, which analyzes maritime data. 

Transportation Secretary Pete Buttigieg said rebuilding the bridge  won't be easy or cheap. "That does not necessarily mean it will take five years to replace, but that tells you what went into that original structure going up," he said. "We need to get a sense of the conditions, of the parts that look ok, to the naked eye, but we just don't know yet, especially in terms of their foundational infrastructure."

Caitlin O'Kane is a New York City journalist who works on the CBS News social media team as a senior manager of content and production. She writes about a variety of topics and produces "The Uplift," CBS News' streaming show that focuses on good news.

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