The Toronto Caribbean Carnival, affectionately known as Caribana, is not just a parade; it’s a vibrant celebration of Caribbean culture, embodying themes of resistance, freedom, and pride. For many masqueraders, it provides a vital connection to their cultural roots. However, this year has seen a significant drop in participation, raising concerns about the future of the event.
The leaders of five major bands in Toronto reported a dramatic decrease in participation this year. Two band leaders noted a 40% drop in registration compared to 2023, while another reported a 53% decline. This unprecedented drop has left many wondering why so many are choosing to skip North America’s largest Caribbean cultural festival.
Jahlyssa W., a long-time masquerader of Trinbagonian and Barbadian descent, shares her love for playing mas, which makes her feel alive and connected to West Indian culture. Despite the increasing costs, she continued to participate, saying she feels lost if she’s in the city and doesn’t play mas. However, this year was her last. Jahlyssa experienced several issues, including receiving a costume in the wrong size and not getting the promised outstanding piece before the Grand Parade.
Many participants have voiced concerns about the growing costs associated with the Toronto Caribbean Carnival. Tanya Hayles, founder of Black Moms Connection in Toronto, recounts her first time playing mas in 2015 as a beautiful and inclusive experience. At that time, her costume cost no more than $300, which was reasonable given her income. However, the current costs are considered unreasonable by many.
The prices of costumes vary depending on the band and the level of the costume. Backline costumes average around $390, midline costumes around $650, and frontline costumes over $1,200. Some bands offer more affordable options, but the overall trend shows rising costs.
In addition to rising costs, participants have criticized the quality of services provided during the parade. Hayles mentioned inadequate hydration stations, food, and customer service as significant issues. She pointed out that for the money spent, she could have a more rewarding experience at international Carnivals in the Caribbean.
Courtney Allen, of Jamaican and Trinidadian descent, also decided to quit the Toronto Caribbean Carnival after 2022. She cited rising costume prices, the loss of inclusivity, and safety concerns due to stormers—people who join the parade without costumes and often cause disruptions. Allen noted that during her time at Trinidad’s Carnival, she witnessed better security and management of stormers.
Mischka Crichton, CEO of The Festival Management Committee, acknowledged the feedback and emphasized the efforts to increase security and public education. However, she also pointed out the financial challenges faced by the event due to rising material costs and insufficient funding from government and private sponsors. Despite the significant economic impact of the Carnival, funding has not kept pace with rising costs, affecting the overall quality and affordability of the event.
Dwayne Gunness, bandleader of Sunlime Mas, has been active in the Toronto Carnival scene for over three decades. He attributes the decline in registrations to the rising costs of the economy and masqueraders finding value elsewhere. Gunness emphasized the importance of quality control and customer service, noting that his band has managed to stay off the radar of negativity by maintaining high standards.
Gunness highlighted the impact of COVID-19 on material costs, which have doubled in price. Despite this, Sunlime Mas offered a college-level costume option for Gen-Z masqueraders at an affordable price, aiming to keep the event inclusive.
Crichton mentioned that the Toronto Caribbean Carnival is the only Caribbean Carnival providing financial support to Mas Bands. This support, along with infrastructure and logistical assistance, helps alleviate some financial burdens on band leaders. However, the rising costs and lack of funding continue to be significant challenges.
Participants like Jahlyssa and Allen suggested several improvements that could encourage repeat participation, including lower costs, loyalty programs, better security, and improved services. They also emphasized the need for transparency from bands and a focus on maintaining the inclusive spirit of Carnival.
The Toronto Caribbean Carnival is at a crossroads. While it remains a significant cultural event, rising costs and service issues have led to a decline in participation. Addressing these challenges is crucial to preserving the event’s legacy and ensuring it remains a vibrant celebration of Caribbean culture. For many, the Carnival is more than just a parade; it’s a connection to their heritage and a celebration of their identity.
