New photobook Arawak documents the vibrant side of Carnival ignored by the mainstream media

Arawak is a new photobook documenting the eponymous British Trinidadian Mas band at Notting Hill Carnival in 2024.

Described as “both a celebration and a tribute to the cultural resilience and freedom of the Mas community”, the book aims to shed light on the joyous atmosphere Mas bands cultivate and the extensive work and commitment that goes into bringing this cultural expression to the streets of West London each year.

It’s shot and self-published by Hark1karan, using 35mm photography film, marking the fourth photobook from the British Sikh Panjabi community photographer and documentarian, following PIND, KISAAN, and Zimmers of Southall.

“Carnival is photographed every year by many photographers, but I felt there was room to tell a deeper story — one that focuses on the heart of Carnival,” he says. “It often feels like there are two Carnivals: the soundsystems and the parade with the Mas bands.”

Opting to focus on the latter, Arawak honours the close-knit community values that are the soul of Carnival, as well as the competitive element weaved into the larger-than-life spectacle. Additional context and expertise comes from Trinidadian academic and cultural critic Shayne de-Lande providing an introduction.

The photobook’s focus on representing the sense of “love, power, and unity” that flows through and out of Mas bands stands as a vibrant and defiant contrast to the cynical headlines and harmful portrayal that Carnival often receives in the mainstream media, providing a necessary platform to the effervescent Caribbean culture it was born from.

“I think the bad press that Carnival receives every year focuses too much on the negative incidents, and the media only ever talks about the soundsystems,” says Lynda Joseph, founder of the Aarawak Mas band. “They rarely mention the bands, the beautiful costumes, or the diverse cultures represented across all the islands.”

Check out the full interview with Hark1karan, featuring input from Lynda Joseph, alongside a selection of imagery below.

This is your fourth self-published book, what draws you to the subjects you choose to document?

A lot of the work I do is, in some way, connected to my own experiences — either as a participant or through my environment. From documenting my mother’s village, to my life in the UK as a British Sikh Panjabi, to the documentary on Central Hill Estate, to club photos from FWD>> and DMZ, the thread continues into Carnival, which I attend annually.

Carnival is photographed every year by many photographers, but I felt there was room to tell a deeper story — one that focuses on the heart of Carnival. It often feels like there are two Carnivals: the soundsystems and the parade with the Mas bands. I mentioned this to John Dubvendor, of reggae shop and record fame, and he said he knew someone who runs a band and could connect us. That’s how I was introduced to Lynda Joseph, the founder of Arawak, who also attended the first ever Notting Hill Carnival. We connected, I shared my previous work, and she trusted me to capture her band throughout Carnival Monday 2024.

Part of my motivation also comes from growing up in South London, where being around different friends and cultures was just normal. At a time when there’s so much division, I believe creatives can build bridges across communities—collaborating, supporting one another, and telling stories that bring people closer. I hope these photos not only shine more light on the Mas bands but also help increase funding and participation in the future.

Read this next: How classic cars and soundsystems connect Southall residents to their Indian roots

What inspired your decision to focus on a British Trinidadian Mas band this time, and are there any learnings you made during the process that stood out to you?

After the introduction, it was really just by chance that the band happened to be of Trinidadian heritage. I already knew that Trinidad is an incredibly diverse place, shaped by many different cultures, faiths, and people. What stood out to me was how the band welcomed people from all backgrounds into their community — it felt genuinely inclusive, and that’s what made it so special.

That’s the beautiful thing about it. Lynda, especially, welcomed me with open arms, and I truly feel like I’m now part of Arawak’s history. Being embraced like that was powerful, and it reminded me how cultural expression can bring people together in such meaningful ways.

The book title refers to “love, power, and unity”. How do Mas bands reflect these values?

As a photographer, I capture what’s present — the atmosphere, the vibe. It was only in the days after that I really reflected on what I experienced with Arawak, and I realised how clearly the band embodied their motif: love, power, and unity.

There was love in the way members treated each other — everyone was warm, friendly, and welcoming. Power came through in the expression: the dance, the costumes, and the freedom to be yourself without judgment. And unity was seen in how they moved as one — staying together as a team throughout the entire day.

Towards the end of the book, you see dancers from other bands joining in to keep the vibe going. Along the route, you also pass different sections where Caribbean islands have their own spots, and everyone gets shown love. That spirit of connection and celebration really brought those values to life.

I continued this energy by asking Trinidadian academic Shayne de-Lande — who also takes part with another band — to write the introduction, Lauren Harewood, of mixed Trini heritage, to design the cover, and my friend Chris, of Cypriot heritage, to design the book. For me, this is a continuation of love, power, and unity within the book itself.

Read this next: How Notting Hill Carnival brought its joyful spirit to Glastonbury's Block9

The release notes for the book state that Mas bands are “the beating heart of Carnival” but are “often underfunded and overshadowed by soundsystems”. Do you think the essence of Notting Hill Carnival is suffering erasure in recent years?

I put this question to Lynda Joseph, the founder of Arawak and a Carnival regular since it first began. She shared the following:

“I think the bad press that Carnival receives every year focuses too much on the negative incidents, and the media only ever talks about the soundsystems. They rarely mention the bands, the beautiful costumes, or the diverse cultures represented across all the islands. As a result, in recent years, the floats have become underfunded, and the spotlight has shifted away from the Mas bands. In the past, we had bigger sponsors and could really put on a show. Now, we rely much more on T-shirt sales just to get on the road, which should actually be the other way around. When we first started, there weren’t even T-shirts on a Monday. At Arawak, we welcome everyone from all walks of life to be part of the band and continue spreading the true spirit of Carnival. I hope in the coming years we can shift the focus back to the bands.”

Her words really speak to the core issue and how easily the cultural essence of Carnival can be overshadowed if we don’t actively support and celebrate the Mas bands that carry its history and heart.

Arawak is out now, buy it here; follow Hark1karan on Instagram

Patrick Hinton is Mixmag's Editor & Digital Director, follow him on Twitter