The history of this worldwide celebration is not a pretty one. The origins date back to the British slave trade, and Kimanje doesn’t shy away from highlighting this. In a past filled with pain and rebellion, the drums that are the heartbeat of Soca today were a method of survival. Drums were a form of communication between plantations, a language used to protect themselves. This was seen as a threat to those in power, and although their drums were taken away, the rhythm persisted in various forms of percussion. 

Kimanje examines the connections between countries in the Caribbean and African culture when it comes to their traditional music and dance, zeroing in on whining – a form of dance that’s often viewed today as hypersexual. 

“I grew up in East Africa, where as a boy, I could use my waistline to dance as well. But one thing I didn’t know was that dancing with the waistline was a celebration of fertility,” he says. “Like when a woman gives birth to a child, other women will come around the house, dancing with their waistline. So that’s a way of praising God and also a way of thanking God for giving you a child birth through the waistline.”

The concept for this film dates back to 2017, when Kimanje met a woman who found healing through her experience with Carnival while undergoing cancer treatments.

“One time I’m talking to a lady here in Canada, we’re at the parade, and she’s listening to a song and talking about how this particular song saved her life and how Carnival saved her life,” he says, revealing a touching story that harkens back to some of the unsavoury notions associated with the festival. “She was raised to think Carnival was evil because she was from a Christian background.” 

When she found out she had cancer, her husband suggested she do something on her bucket list, something she always wanted to do. She went to Carnival in Trinidad, her friends flew in, and she had a great time. As she started her treatments, they were so painful that the doctors advised her to think of a happy time in her life. She remembered the carnival and it helped ease the pain.

In 2023 alone, the Toronto Carnival generated $465.7 million for Ontario, while drawing over 1.5 million attendees. It has been a staple in the city since 1967. Of course, the parade is still the main attraction, but we also get to see a different side of Caribana in the documentary – the creatives behind the scenes. 

You can’t have Caribana without the beautiful costumes. Through Kimanje’s narration, we see what goes into building these outfits: the stress, the pressure, and the commitment from volunteers year after year, as well as the excitement for the competitions and the fighting spirit that cuts through.

This film gives Carnivals around the world a new meaning. The history of rebellion and oppression makes the jumping and waving more meaningful. It is a celebration of the present and a tribute to those who fought for this privilege. 

“This film gives everyone identity, not just black people, but white people too, people who don’t know the culture,” Kimanje says. “It gives you identity to understand that no one can take away your joy. No matter what, no matter what they do to you, nobody can take away your joy because they were beaten, they were killed, their women raped, taken away from their kids and they still had joy.”

Carnival: They Can’t Steal Our Joy screens July 24, 2025, at Hot Docs Ted Rogers Cinema in Toronto, ON and at the Detroit Black Film Festival Sept. 25 to 27

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