Yaa Asantewaa Carnival Group:
A Prized History
In 2007, the historic Bicentennial was finally here. We had a new logo that represented a new beginning. We presented "Movin On" a celebration of achievements and commemoration of struggle of the African Diaspora in Britain post Abolition. Sections were Pan Africanism, Stereotypes and Integration (Youths) |
In 2006 we presented the Second Era between the ending of the slave trade and the start of mass imigration. "How Yaa Come" Sections were (Fruits of labour), dance (Colonial Warriors)and (Abolition Time). We reproduced a replica of the Empire Windrush |
 |
In 2005, we started a trilogy to commemorate the 200th anniversary of the abolition of the transatlantic slave trade. Long before the Windrush docked, there were africans. We looked at the first Era 1400 - 1899 to tell the forgotten stories. Title of the band? A Story Yaa Know |
In 2004 we presented "Blow Yaa Horn" a celebration of 25 years of Yaa Asantewaa's successful achievements over the years. Sections were Music (Positive Vibes), dance (Mystic Rhythms)and visual arts (Rhapsody) |
 |
In 2003 we presented "Talk Yaa Talk" in celebration of the oral traditions. Portrayed in black and white sailor styled costumes, this band had something for everyone! We placed 3rd in the "battle of the bands" in Denmark |
 |
In 2002 we presented "Through D Eye". This was an alternative look at the universe. The costumes had names like Roving eye, Apple of my eye and evil eye The YAAAFRIKAN Carnival Theatre toured nationally and in Europe, placeing second in Denmark |
The 2001 Carnival presentation won the "Best band on the Road" and was called YAAAFRIKAN - Movement of the people - told the story of the journeys of African people to the Diaspora and how their presence through dance had influenced the emergence of new cultures. The production integrated dance, costumes, spoken word, and live music exploring innovative ways of packaging Carnival Arts.
 |
This production was also taken to Aalborg, Denmark, Europe's second largest carnival in all its splendour and colour, calypsonian Totally Talibah sang and narrated the story. This earned them 2nd place in the battle of the bands competition. |
 | In Bielefeld, Germany Yaa paraded with Rapso Master Brother Resistance and the Network Riddim Band |  |
In the year 2000 Yaa Asantewaa was at the Dome for the millenium celebration.
| picr | 1999 Carnival brought the close of the Metamorphosis Trilogy with the production of Higher Heights. The theme addressed the growth in technology and its impact on Carnival. It actually dealt with the clash of the African and European cultures imbedded within the art of Carnival. | rr |
The 1998 Carnival Presentation marked the tenth anniversary of Shabaka Thompson producing a costume band for Yaa Asantewaa, with the 1997 celebration earning us the best band on the road at the Notting Hill Carnival awards. There have been other achievements, but not as big as 1997. The following demonstrates how the seeds of our recent successes were sown
1998 : METAMORHOSIS II "DECADENCE".
 |
The 1998 Carnival Presentation marked the tenth anniversary of Shabaka Thompson producing a costume band for Yaa Asantewaa called METAMORHOSIS II "DECADENCE", the second of the trilogy. | m |
1997 we began the third trilogy episode - "Metamorphosis". The first chapter, 'The Genesis' ushered in a new concept to mas presentation at Notting Hill. With Nizam as designer , The Genesis is our most successful production to date. Nizam's involvement encouraged mas constructor Kenrick Williams and machinist Carlton Garcia to come to Britain from Trinidad. Metamorphosis included a dramatic performance involving African music band Sugumugu Sunday and dance choreography. The Genesis was innovative and exciting, injecting a new approach to mas presentation using drama. Yaa won major prizes in both the children and adult gala, winning four 1st places, including the adult male individual and female individual categories. Yaa also won best band on the road. The rest is history.
1996, a fervent search for a designer to replace Bandi resulted in using Asian designer Ali Zaidi to design "People of the Carry Beyond". This partnership with Ali was strenuous on the team, as Ali did not have the time and commitment to produce a proper band. This experience presented a major problem for the Centre in procuring a British base designer. In order to continue enhancing the acquired skills of the team and to put Yaa Asantewaa at the forefront of mas production, we went to Trinidad and engage young Asian designer Nizam Ali. "Carina Pogoto"- (Carib People), was Nizam's debut to carnival designs and an introduction to Notting Hill Carnival. The new skills and professionalism introduced by Nizam was an immediate success. Yaa won 3rd prize in the best band category, the best designer Award and various prizes at the children's gala. Our relationship with Nizam prompted a major Educational tour to the Trinidad carnival. A group of twenty two people, consisting of children and adults spend four weeks researching and looking at the 'real' thing. By this time the carnival group had extended itself to participating in the Calypso Tent. Two female calypsonians together with another two juniors calypsonians are active members within the group. The two juniors were winners in 1995 & 1996 and performed extensively in Trinidad.
1995 commenced "The Wealth of Africa" trilogy . The experimental years focused on developing a core group of costume makers capable of utilising a variety of skills in costume construction. This group was then consolidated into a Carnival Committee. Bandi's quest to repatriate to Africa became a reality in '95 and he is now residing in Ethiopia.
1993, the final episode "Mas Explosion" introduced rastafarian artist, Bandi Payne to Notting Hill. Bandi, who is well known for his 'banana' art ushered in the experimental years.
1992, the second part of this trilogy,"World of Masques" was designed by veteran mas man and wire bender, Festus 'Festi' Francis.
1991 launched the trilogy project with the "Roots of Mas Trilogy". Roots of Mas introduced young fashion designer, Arleen Weekes to the carnival arena. Arleen is currently on a Commonwealth scholarship at Addo Bello University in Nigeria completing her post graduate degree. In 1991 we also initiated an international project involving a master drummer from Trinidad, Jah Jah Oga Onilu. Jah Jah was instrumental in assisting with the interpretation of the costumes and toured London doing performances and workshops.
1990 we introduced dance choreography using the dance workshop in the portrayal of "Rainbow Uprising". Rainbow Uprising went on to becoming a musical theatre hit three years later. All the above presentations were designed by the infamous carnival designer Keith Khan.
1989 "We De Aethiopian" placed 3rd on the road. This production, involved a large number of rastafarians in costumes, and was done in celebration with the Rastafari based, Nyabinghi Project.
1988, our presentation "Les Pwi Tan Nous" placed 3rd in the best male individual category. This presentation was done in celebration with the Dominica Cultural Exchange programme, Vwa Dominic.