One of the most culturally diverse cities on the planet, Toronto, Canada hosts its 41st Caribana, one of the biggest and baddest Caribbean Festivals in North America.

Three weeks of partying Carnival style draws in a million festival visitors each year and at least a hundred thousand American tourists come to celebrate culture. Along the festival route vendors line up to serve you food as diverse as the people in attendance so if you like food as much as I do, be sure to go with an empty stomach.

Caribana’s night scene is time to really get live because each night provides another party or three to attend. Machal Montana, a soca artist from Trinidad (the Holy Grail of Carnival) will make an appearance along with Kevin Lyttle, Akon, Estelle, Ludacris, and Kardinall Offishall who will all host parties over the duration of the festival to give you a reason to dance until the next days celebration begins.

Toronto’s Caribana is as close as you’ll get to a Trinidad and Tobago Carnival without having to leave North America to do it.

Caribana kicked off Sunday June 15 and ends August 5.

More event information is available here and here.

Primarily focused on blurring the traditional and contemporary representations of class boundaries, Kehinde Wiley’s subjects have primarily tended to be young African-American men, straight from the streets of Harlem. But World Stage: Africa, Lagos - Dakar at Studio Museum Harlem is moving beyond the boundaries of the urban New York landscape. Taking Wiley’s well-known style and transplanting it to a global spectrum, the new series of 10 paintings were conceived in temporary studios set up along his travels through Nigeria and Senegal. Consequently, traces of regional architecture and textiles have found their way into his new works.

Although his stylistic signature has always been juxtaposing the elements of traditional renaissance portraiture with that of urban African–American culture, this new exhibit gave Wiley the freedom to represent the historical dynamics between power and privilege in an entirely new setting. Suffusing his works with a hint of the post-colonial, Wiley paints his subjects in poses replicated straight from independence–era statues scattered around Lagos and Dakar.

Whilst these new paintings retain a powerful vibrancy, there is arguably a loss of the familiar garnered in Wiley’s earlier works. The instant identification garnered by the Harlem-based settings of his earlier portraits is somehow lost when transferred to the African landscape. But this new dimension in Wiley’s artistic realm is producing iconic results that are sure to resonate with a bigger crowd than ever.