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Notting Hill Carnival<\/span><\/a> always evokes sharp visions in the imagination. Intricate floats. The technicolour, feathered outfits of mas bands. Eardrum bursting <\/span>reggae<\/span><\/a>, dub, jungle and UK<\/span> garage of the soundsystems. Jerk chicken, curry goat and rice and peas. Huge, pulsing crowds that file through the area\u2019s streets. Or for its critics, it represents disorder, noise, and unpoliceable chaos.<\/span><\/p>\n But lesser remembered is its place as a\u00a0protest. In 1958<\/span>, severe and violent race riots broke out in the West London neighbourhood, as mobs of white gangs armed with sticks, bottles, bricks and knives attacked homes and businesses of Black people. In response, a\u00a0year later in 1959<\/span>, journalist and activist Claudia Jones \u2013 who was born in Trinidad and Tobago and moved to the UK<\/span> after being imprisoned in the US<\/span> in the \u200b\u2018<\/span>Red Scare\u2019 \u2013 organised a\u00a0party at St Pancras Town\u00a0Hall.<\/span><\/p>\n There were steel pan bands, singers and dancers, as the cultural celebration protested violence and racism with music and dancing. The event was an early blueprint for resistance through joy and celebration of culture, which eventually inspired the first official Notting Hill Carnival in 1966<\/span>. \u200b\u201c<\/span>There was the murder of [Antiguan migrant] Kelso Cochrane that was dividing communities,\u201d explains photographer Wayne Campbell, co-author of a\u00a0new photobook <\/span>Carnival of Resistance<\/span><\/i>, which is published as the festival celebrates 60<\/span>\u00a0years of existence.<\/span><\/p>\n<\/div>\n