分类： entertainment

Visual artist Adeline Gregoire has launched her debut solo exhibition, “Vanishing Lines/Lignes de Fuite,” at Loftt Gallery in Woodbrook, presenting an innovative collection that reimagines Caribbean landscapes through abstract cartography. The exhibition, which opened November 15 and runs through November 30, represents a significant departure for Gregoire, who has built her career primarily as a curator and interpreter of others’ work until now.

Gregoire describes the collection as “different types of maps, cartographies of ‘the islands’” that explore profound questions of “history, movement and survival.” Rather than presenting literal geographical representations, her works serve as conceptual mappings that layer references to memory, migration, and colonial histories within abstracted Caribbean landscapes.

The French portion of the exhibition’s title, “Lignes de Fuite,” translates to “lines of flight”—a concept Gregoire employs to examine both physical and metaphorical escape routes. She draws direct parallels between historical marronnage (the escape of enslaved people during colonial times) and contemporary experiences of migration, displacement, and the pursuit of self-determination.

“So many of us are the direct descendants of our maroon ancestors,” Gregoire observes. “And so many of us are not free. We are the runaways of our present time.”

Her artistic process involves innovative techniques including ripping materials, distressing paper, exposing works to the elements, compression, layering, erasing, and scraping—methods that physically echo the themes of erosion, memory, and transformation explored in the content. The resulting works feature richly textured, tactile surfaces that invite both visual and conceptual engagement.

Notable pieces include “Somewhere in Between, Nou La,” which Gregoire describes as “a sort of three-dimensional landscape where you’re supposed to see mountains, coastline and colonial histories all at once,” and “Geographies,” which incorporates thread to suggest connections across spaces divided by man-made borders.

The exhibition benefits from the curatorial expertise of Célia Potiron, a Martinique-born writer and curator based in Paris whose background in Caribbean literature and postcolonial research adds significant depth to the presentation. Gregoire emphasizes the value of this collaboration, noting that Potiron’s “disinterested perspective helped situate the exhibition within wider Caribbean and postcolonial contexts.”

Visitor response has been overwhelmingly positive, with many attendees spending extended periods engaging with individual works and participating in dialogues about their interpretations. Gregoire has enhanced the gallery experience with a curated soundtrack that adds another sensory layer to the exhibition.

While the current exhibition concludes on November 30, Gregoire plans to continue developing these themes in her future work, describing this show as “a stage in an ongoing conversation” about Caribbean identity, history, and landscape.

The University of the West Indies (UWI) is set to debut a powerful theatrical production titled “Don’t Call Me Baby Doll” on December 9th, written by Dr. Travis Weekes, the institution’s theatre coordinator. This six-year creative endeavor explores the complex realities of women migrants in Trinidad and Tobago through the lens of two compelling characters.

The production features acclaimed actresses Chanel Quesnel as Maria, a Cuban refugee, and Natasha Lee Kurbanali as Isabella, a Venezuelan migrant. Their performances illuminate an extraordinary friendship that transcends religious and cultural differences, showcasing how solidarity emerges amidst adversity. The narrative delves into their shared pursuit of dignity and empowerment while confronting societal challenges.

The play’s provocative title directly challenges the Baby Doll tradition, referencing cultural practices surrounding paternity seeking and economic survival. Dr. Weekes drew inspiration from his personal experiences as an immigrant arriving in Trinidad from St. Lucia to join UWI’s faculty in 2018. His background in theatre is deeply rooted—growing up within the artistic community established by Derek and Roderick Walcott, then formalizing his education at Jamaica School of Drama before earning a doctorate from UWI Cave Hill.

Weekes’ anthropological interest in Santeria and its connections to Trinidad’s Orisha traditions informed the play’s cultural framework. His interactions with Cuban and Venezuelan migrants in his neighborhood revealed the multifaceted struggles faced by immigrant women, compelling him to create work that blends Hispanic and Caribbean cultural elements while resisting stereotypical representations.

Beyond this production, Weekes maintains an active role in Caribbean theatre education, conducting seminars on classic works and recently directing Dawad Phillip’s play about Lord Blakie. His diverse portfolio includes 2021’s “The Fight for Belle Vue” examining brotherly land disputes and “Take Me to Mon Repos,” which explored St. Lucia’s 1794 liberation struggle and was performed in Venezuela by students from Trinidad and Saint Lucia.

The premiere will feature two exclusive performances on December 9 and 10 at 7 PM in the Learning Resource Centre at UWI’s St. Augustine campus.

Hillview College in Tunapuna is set to inaugurate a new holiday tradition with its first-ever Christmas concert, titled ‘Harmony and Hope,’ scheduled for December 5th. The festive event will take place from 7:00 PM to 9:00 PM at the school’s auditorium on College Road.

The concert represents a significant fundraising initiative, with all proceeds dedicated to enhancing the student experience at the institution. Tickets, priced at $150 each, are currently available for purchase at the school’s administrative office.

Attendees can anticipate an evening of musical diversity featuring both classic Christmas carols and innovative cultural interpretations. The program will include traditional hymns like ‘O Come, O Come Emmanuel,’ contemporary favorites such as ‘Jingle Bell Rock,’ and unique local adaptations including an East Indian-inspired Christmas dance performance and a calypso parang rendition of ‘Christmas is Love.’

The college’s steelpan orchestra has been diligently preparing for this performance, promising to deliver these seasonal melodies with both contemporary elegance and genre-blending creativity. School officials emphasize that the event not only celebrates the holiday spirit but also supports the development of Trinidad and Tobago’s future leaders.

In addition to the musical program, each ticket includes a complimentary refreshment box. Those seeking additional information are encouraged to contact the school directly at 662-4843.

In an electrifying display of musical excellence, San Juan East Side Symphony has secured its unprecedented ninth victory in the Single Pan Panorama competition. The triumphant moment unfolded in the early hours of November 30 at Port of Spain’s iconic Queen’s Park Savannah, marking the first major championship of Carnival 2026.

The defending champions, performing in the penultimate position of the 25-band lineup, delivered a masterful rendition of Machel Montano’s ‘Jumbie’ arranged by the renowned Duvone Stewart. Their performance earned a commanding 285 points from the judges after six hours of continuous musical performances that began the previous evening.

La Creole Pan Groove from Diego Martin mounted a formidable challenge, finishing a mere three points behind with 282 points. Their arrangement of the late Ken ‘Professor’ Philmore’s 1990 composition ‘Pan By Storm’, arranged by Dejean Cain and vocalized by Keith ‘Designer’ Prescott, captivated the audience during their position 20 performance.

San Juan Chord Masters Steel Orchestra claimed third position with 280 points for their interpretation of Montano’s ‘Showdown (Band meet Band)’ arranged by Andre White. Tobago’s Metro Stars Steel Orchestra secured fourth place with 277 points despite bringing composer Akhenaton ‘Yung Bredda’ Lewis to the stage for their performance of ‘Kettle Pot’.

The competition featured notable achievements including a fifth-place tie between New Age Trendsetters and Hope Pan Groovers, both scoring 274 points. Protective service bands demonstrated strong showings with Trinidad and Tobago Prisons Service Steel Orchestra taking seventh place (273 points) and TT Police Steel Orchestra securing eighth (270 points). The event concluded with a ninth-place tie between Epic Koskeros Steel Orchestra and D’Original Woodbrook Modernaires Steel Orchestra at 269 points each.

COUVA, TRINIDAD – The Couva Carnival Committee (CCC) has announced a strategic partnership with former Panorama medium band champions Couva Joylanders Steel Orchestra to inaugurate the 2026 Carnival season with enhanced cultural programming. The official launch event is scheduled for Saturday, December 6, at 4 PM at the Couva Joylanders panyard on Railway Road, offering free admission to the public.

This collaboration signifies a deliberate effort to integrate the steelpan—Trinidad and Tobago’s national instrument—more deeply into Central Trinidad’s Carnival traditions. CCC Chairman Ramchand Rajbal Maraj emphasized the cultural significance, stating, “Couva Joylanders has established an outstanding reputation for excellence. Since pan represents a fundamental pillar of Carnival, we believed it essential for them to assume a more substantial role in our celebrations.”

Richard Gill, Executive Manager of Couva Joylanders, welcomed the initiative as a mutually beneficial development. “Our members are enthusiastic about collaborating with Couva Carnival to create additional platforms for pan enthusiasts to appreciate this art form. Beyond the launch, we plan to perform at multiple events throughout the season,” Gill confirmed. The steelband, which secured the Panorama medium band championship title in 2020, will headline the December launch alongside former National Calypso Monarch Terri Lyons, with additional performances by artists including Wacka Man and Johnny Ramnarine.

The committee extends an invitation to mas camp leaders and J’ouvert bands to exhibit costume designs and sketches for the 2026 season during the launch event, fostering an immersive Carnival atmosphere. Chairman Maraj promised that the 2026 celebrations would surpass previous years in spectacle and energy, though he acknowledged significant financial challenges. “While we receive annual funding from the National Carnival Commission, it remains insufficient to cover our complete budget. We consequently rely heavily on the generosity of both public and private sector partners,” Maraj disclosed.

Notably, the 2026 Carnival schedule features an expanded roster of events, including the Miss Central Trinidad Queen Pageant screening on January 3, calypso competitions on January 11, and the main Carnival events from February 12-17. The pageant finals coinciding with Valentine’s Day on February 14 will reportedly feature special surprises for attendees.