As powerful and impactful as Williams’ work was at the time – and as successful as he was as a solo artist – it is in relation to his work and service within the CAM that we can appreciate the movement as an act of political and social change. Through the members own creative talents CAM drove for a better representation of Caribbean life, art and community. Outwardly it reflected the culture of the time; it rebelled against white supremacy in Britain, brought its own flavour from back home and together sought to merge the two – much like the ethos of the Notting Hill Carnival.
