Carib Scope

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  • Condé Nast Traveler Readers Rank Antigua and Barbuda No. 7 in Caribbean and Atlantic

    Condé Nast Traveler Readers Rank Antigua and Barbuda No. 7 in Caribbean and Atlantic

    One of the travel industry’s most respected and longest-running reader-voted honors has handed a new accolade to the twin-island Caribbean nation of Antigua and Barbuda. Condé Nast Traveler officially unveiled the results of its annual Readers’ Choice Awards this week, ranking the destination as the No. 7 best island across the Caribbean and Atlantic region.

    Unlike many industry awards that rely on expert or critic judging alone, the Readers’ Choice Awards draw directly on the unfiltered experiences of everyday travelers. For this year’s edition, more than 757,000 readers from across the United States submitted responses to a comprehensive survey, rating their travel experiences at destinations around the globe. The survey was designed to identify not just popular tourist spots, but the locations that leave such a lasting impression visitors are eager to return year after year. With a decades-long legacy as the most prestigious reader-endorsed honor in travel, the award remains the gold standard for recognizing excellence across the global tourism sector. A full roster of 2026 winners is available on Condé Nast Traveler’s website, with all honorees also featured in the publication’s November print issue.

    For Antigua and Barbuda, the top 10 ranking underscores the destination’s wide-ranging, enduring appeal that goes far beyond its well-known coastal offerings. The nation’s tourism sector draws visitors for a diverse mix of attractions, from its world-famous shorelines and centuries-old sailing heritage to its layered history, lively local culture, innovative culinary scene, and one-of-a-kind twin-island experience.

    Colin C. James, CEO of the Antigua and Barbuda Tourism Authority, shared his excitement over the international recognition. “We are delighted to see Antigua and Barbuda recognized as the #7 Island in the Caribbean & The Atlantic in Condé Nast Traveler’s 2026 Readers’ Choice Awards,” James said. “This recognition is a testament to the experiences that continue to draw travellers to our shores and to the people across our tourism industry who work tirelessly to make every visit memorable. While our 365 beaches remain an iconic part of our appeal, Antigua and Barbuda offers so much more to discover, and we are proud to see that depth and diversity recognized on the world stage.”

    Each of the two islands that make up the nation offers a distinct experience that caters to different traveler preferences. Antigua pairs its iconic white-sand beaches with world-class sailing regattas, a growing farm-to-table culinary scene, well-preserved colonial historic sites including the UNESCO-listed Nelson’s Dockyard, and a packed annual calendar of cultural and sporting events. Neighboring Barbuda, by contrast, offers a quiet, unspoiled escape defined by its iconic pink-sand beaches, untouched coastal wetlands, and vast stretches of undeveloped natural landscape. Together, the twin islands give visitors the chance to craft a trip that balances adventure, relaxation, cultural exploration, and deep connection to Caribbean heritage, inviting travelers to look beyond the typical beach vacation and experience the unique character of the nation.

  • Haymans Market: Barbados’ Largest Indoor Market Blends History, Local Business and Lifestyle

    Haymans Market: Barbados’ Largest Indoor Market Blends History, Local Business and Lifestyle

    Nestled in the rolling countryside of St. Peter, just a short drive from Barbados’ most popular coastal towns, Haymans Market has emerged as far more than the island’s largest indoor retail space—it has evolved into a self-contained, vibrant lifestyle hub that weaves centuries of Barbadian history into a modern, multi-faceted visitor experience.

    The market’s distinctive identity is rooted in its industrial past: the sprawling property off Highway 2A is built within the walls of the decommissioned Haymans Sugar Factory, a site with a legacy stretching back to 1649. That year, English planter Henry Haymans purchased a collection of smaller surrounding plantations to establish Haymans Plantation, launching a sugar operation that would operate on the site for more than 300 years. What began as a small wind-powered mill with open-air sugar boiling evolved over generations into a fully electrified modern factory, until sugar production ceased entirely in 1988. After sitting vacant for decades, the site was acquired by Sun Group Inc. in 2020, kicking off an ambitious restoration project that balances historic preservation with adaptive reuse. Today, a non-operational vintage sugar cane transport crane still hangs preserved above the market’s entrance, serving as a tangible reminder of the site’s origins.

    “The former Haymans Sugar Factory gave us an authentic identity and a meaningful connection to Barbados’ history. We had the opportunity to restore and reimagine the former Haymans Sugar Factory while retaining the character that makes the site distinctive,” explained Jacob Weatherhead, Haymans Market’s Operations Manager.

    The result of that restoration is a thriving hub home to more than 85 unique businesses, ranging from independent local traders and artisans to restaurants, wellness providers and service-based enterprises. One of the market’s biggest successes has been its role in nurturing homegrown Barbadian entrepreneurship: many early vendors who launched from compact 10-by-10-foot booths have now expanded into much larger retail spaces as their customer bases have grown.

    “We are particularly proud to see local entrepreneurs who began in small booths build loyal customer bases and move into larger spaces at Haymans. That growth is one of the clearest signs that the market is creating genuine opportunities for Barbadian businesses,” Weatherhead noted.

    Reflecting the market’s core values of diversity, enthusiasm and commitment to quality, vendor offerings span nearly every consumer interest. Shoppers can browse handcrafted Barbadian gifts, locally made souvenirs, artisanal fashion and handcrafted home goods, while regularly scheduled community events keep the visitor experience fresh. A monthly farmers’ market is set to transition to a weekly Sunday attraction, and the market also hosts quarterly pop-up and vintage markets that draw both locals and tourists.

    In recent years, the site has expanded far beyond retail and dining to become a leading regional wellness and recreation destination. It now houses a fully equipped gym, professional padel tennis courts, and dedicated studios for yoga, Pilates and Reiki. Visitors can refuel at an on-site juice bar serving cold-pressed fresh juices or a local bakery offering homemade pastries and baked goods. A dedicated on-site art gallery showcases work from Barbadian and Caribbean creators, cementing the market’s role as a hub for local cultural expression.

    Food remains one of Haymans’ biggest draws, with more than 25 food and beverage outlets catering to every taste. The full-service Haymans Social, led by Culinary Director Jeremy Dupire, serves lunch and dinner during the week, with added Saturday breakfast and all-day Sunday brunch offerings. Its professional catering kitchen supports the restaurant and the market’s large event spaces, which can host private and public gatherings for up to 1,500 attendees. For a more relaxed experience, The Cooling Deck Bar offers open-air seating beneath native bearded fig trees, with unobstructed views of Barbados’ scenic west coast.

    Following a soft opening in December 2023, Haymans Market was officially inaugurated by Prime Minister Mia Amor Mottley at a public ceremony on March 13, 2024. The path to success was not without hurdles, Weatherhead acknowledged: building awareness of the new destination and establishing consistent visitor foot traffic took months of targeted outreach and community engagement. “The journey has involved a great deal of learning. In the early days, our greatest challenge was establishing Haymans Market as a new destination and building consistent patterns of visitation. As the businesses became more established and people became familiar with everything Haymans had to offer, foot traffic grew steadily,” he said, noting that the market drew 250,000 visits in the past year alone.

    Now that Haymans is firmly established as a St. Peter landmark, leadership has laid out an ambitious long-term vision: to position the market as one of Barbados’ leading lifestyle and tourism destinations, a must-visit spot for both locals and international travelers. The site even offers a self-guided audio-visual tour that walks visitors through the market’s history and the broader story of sugar production in Barbados, turning a casual trip into an immersive cultural experience.

    Located just five minutes from Speightstown, 10 minutes from Holetown and 15 minutes from Warrens, Haymans Market balances convenient access with a secluded, escape-like atmosphere. “We see Haymans Market as the heart of a broader destination, bringing together shopping, dining, entertainment, wellness, professional services and community events within one historic setting,” Weatherhead said. “As we grow, we want to attract a strong mix of established and emerging Barbadian businesses, create new reasons for people—locals and visitors alike—to visit throughout the week, because there is always something happening, and continue restoring the former sugar factory and surrounding property in a way that respects its heritage.”

    What was once a working factory processing sugar cane from surrounding fields is now a space where visitors can eat, explore, exercise or unwind, blending hundreds of years of Barbadian history with 21st-century lifestyle experiences. Ultimately, the project aims to set a blueprint for adaptive reuse of the island’s historic industrial sites: “Ultimately, we want Haymans to support local entrepreneurship, contribute positively to St. Peter and demonstrate how Barbados’ historic properties can be successfully reimagined for the future,” Weatherhead added.

  • Korean Week in Cuba highlights language, history, and traditions

    Korean Week in Cuba highlights language, history, and traditions

    A new cross-cultural event focused on expanding access to Korean arts education and outreach has kicked off, with this year’s edition placing a special spotlight on the Korean alphabet, Hangul. In an exclusive interview with Prensa Latina, event organizer Martha Cabrera detailed the programming’s core design: the initiative weaves together centuries-old Korean cultural traditions and contemporary Korean cultural outputs, most famously global phenomenon K-pop, to craft an experience that resonates deeply with teen and young adult attendees.

    Representatives from the Korean diplomatic mission also shared their outlook for the week-long gathering. Sojeong Myeong, speaking on behalf of the mission, emphasized that the event is intended to serve as an open, accessible gateway for Cuban residents to explore and engage with Korean culture for the first time.

    The opening schedule featured a robust lineup of educational panel discussions, starting with a deep dive into the historic March 1st Movement of 1919, the mass grassroots resistance against Japanese colonial rule of the Korean Peninsula. Panels went on to address the ongoing territorial dispute between South Korea and Japan over the Dokdo Islands, referred to as Takeshima in Japanese, before turning to cultural topics: participants explored the history of iconic Korean celadon ceramics, traditional folk games and dance, and the cultural significance of everyday and ceremonial artifacts including wooden masks, traditional calligraphy sets, and historic hanbok costumes. The discussions traced Korean cultural development from the era of early ancient Korean kingdoms through the Joseon Dynasty, providing audiences with a comprehensive historical context.

    Beyond academic talks, the event’s programming also includes a screening of the testimonial documentary *No tan lejos* (Not So Far Away). The film chronicles the lasting impact of Korean culture in Cuba, tracing the history of the first Korean migration wave to the island 105 years ago, the growth of the Korean-Cuban community, and the development of the ArtCor cultural initiative, which now counts more than 10,000 members across Cuba.

  • Saxons face legal threat after pulling out of final

    Saxons face legal threat after pulling out of final

    The inaugural Bahamas Junkanoo Music Festival, a ground-breaking privately organized competition celebrating the iconic Caribbean cultural tradition, has been thrown into chaos just hours before its final round, after leading competitor Shell Saxon Superstars abruptly withdrew from the event, triggering threats of costly legal action from organizers.

    Jamal Taylor, chair of the festival organizing committee, claims the Saxon Superstars violated their binding participation contract when they dropped out of Sunday’s final, despite holding a commanding lead of more than 100 points over the other competing groups after the preliminary rounds. Taylor alleges the group’s last-minute exit was a deliberate attempt to sabotage the first-of-its-kind event, which was designed to elevate Junkanoo music and dance with far larger prize purses than traditional annual parades.

    Held over three consecutive nights at Montagu, the new competition pitted six pre-qualified Junkanoo groups against one another in judged categories of original music and synchronized choreography. The $20,000 top prize for best music offered at the festival is nearly seven times larger than the $3,000 best music award handed out at Nassau’s traditional Boxing Day Bay Street parade, highlighting the event’s ambition to grow the cultural art form. Choreography prizes also dwarfed traditional awards, with a $5,000 first prize compared to just $800 at the standard Bay Street parade.

    Taylor claims the dispute originated from a last-minute debate over the final performance order. He explained that Saxon Superstars chair Toby Austin initially approached him before the group’s Saturday preliminary performance to request that the highest-scoring group be given the closing performance slot in the final, a common arrangement in competitive performance events. Taylor said he attempted to accommodate the request, but the three other finalist groups rejected the change because it deviated from the pre-agreed rules. A second random draw was then held, and the Saxon Supersons drew the opening performance slot. Minutes after the draw, Taylor says a group representative called to inform organizers the team would not participate.

    The Saxon Superstars leadership has pushed back against Taylor’s version of events, offering a conflicting account of how the performance order was handled. Backline committee chair Craig Curtis said the original contract required all performance orders to be decided by blind random draw, with the final draw held immediately after preliminary results were announced. Curtis said after preliminary scores were released, organizers unilaterally announced the highest-scoring groups would perform in reverse order of ranking, giving the Saxons the closing slot. Curtis said the team left the arena in protest of the unapproved rule change, only to later receive word that organizers had reversed their decision and held a new draw that put the Saxons in the opening spot.

    Curtis emphasized that the group’s decision was rooted in principle, not prize money, stating: “For us, it was about the principles, not about the cash prize.”

    Internal splits within the Saxon Superstars organization have also come to light. Taylor claims that Austin never authorized the withdrawal, and that the decision was made by the group’s backline committee without formal approval, pointing to what he calls a “leadership crisis” within the decades-old Junkanoo collective. Austin pushed back on that characterization, confirming he did not support the withdrawal and said he could not force 250 willing performers to take the stage when a faction of the group refused to participate. He added that any individual who made the unauthorized call to withdraw would have to accept the consequences if the legal dispute proceeds.

    In the wake of the Saxon Superstars’ exit, organizers adjusted the final lineup, and One Family claimed the overall crown, taking home both the best music and best choreography titles. Roots finished second, with the World Famous Valley Boys placing third. Taylor confirmed the event has sustained thousands of dollars in lost revenue, noting that attendance would have been significantly higher with the popular Saxon Superstars in the lineup, though he praised the crowd that did turn out for Sunday’s final round.

    The competition was structured with six groups that signed formal participation contracts at Nexus Law Chambers, with three groups performing each on Friday and Saturday, and the top four scoring groups advancing to the Sunday final. All participating groups were required to field a minimum of 150 musicians and 20 dancers to meet competition eligibility rules. One group, Genesis, was disqualified prior to the final after failing to meet the minimum participant requirement. Additional disputes over a potential plan to add a fifth replacement group to the final after the Saxon withdrawal also arose, with that proposal ultimately scrapped after pushback from other finalists. Taylor countered that he had already offered to delay the Saxons’ performance time by 90 minutes to 8 p.m. on Sunday to allow the group to hold an emergency leadership meeting, but the team never showed up and never sent any formal communication explaining their absence.

    Taylor stressed that the Saxon Superstars’ breach of contract has caused measurable harm to the event, and the group is legally liable for all losses the festival has incurred as a result of their last-minute withdrawal. “They believed that they were bigger than the programme,” Taylor said. “They believe that if they boycotted the event, it would cause harm to the organisers, which I believe it did, and so they are liable for whatever losses we sustained due to their not keeping their contractual commitments.”

  • 100 Jamz celebrates 33 years of broadcast excellence with massive Anniversary Concert and Octoberfest Celebration

    100 Jamz celebrates 33 years of broadcast excellence with massive Anniversary Concert and Octoberfest Celebration

    One of The Bahamas’ most iconic radio brands has closed out a landmark chapter with a massive, crowd-pleasing celebration, drawing thousands of fans from across the nation to its 33rd Anniversary Concert and OctoberFest. Hosted by parent company Radio House at the National Stadium Grounds on Saturday, October 3, the sold-out event has been hailed a resounding success, with station leadership extending heartfelt thanks to every person and partner that helped bring the milestone celebration to life.

    For more than 30 years, 100 JAMZ branded as “The People’s Station” has dominated the airwaves across The Bahamas and the broader Caribbean region, building a loyal following through its mix of hit music and community-focused content. Saturday’s gathering turned three decades of broadcast history into a shared public party, uniting thousands of music fans of all backgrounds for a night of high-octane live entertainment that lived up to the station’s long-held reputation for memorable events.

    The event’s lineup packed a powerful punch, blending global talent and local favorite acts. Chart-topping international hip-hop artist Yung Miami took the top billing alongside Jamaican dancehall breakout star Malie Donn, with support from a stacked roster of the nation’s top local DJs, radio hosts and homegrown performers. From the opening act to the closing encore, the high-voltage performances held the packed crowd’s attention, solidifying 100 JAMZ’s standing as the country’s leading cultural and music authority in broadcast radio.

    Handel “Reality” Sands, Marketing and Promotions Director at Radio House, called 33 consecutive years on air a source of immense pride for the entire network. “This celebration was always meant to be our thank you to the loyal listeners who tune into 100 JAMZ every single day,” Sands explained. Leadership also emphasized that the event could not have been pulled off without the support of the Bahamian public, venue operators at the National Stadium, and core corporate and production partners including Starforce Productions, Fadda Chippy Sounds, Born Ready Entertainment and Rude Boy Beer, along with on-the-ground teams ranging from production crew to security personnel who worked to deliver a smooth, enjoyable experience for all attendees.

    As the station moves into its 34th year of broadcasting, it remains committed to its core mission: delivering non-stop hit music, launching forward-thinking promotional campaigns, and serving as the unfiltered, authentic voice of the Bahamian community.

    For fans wanting to revisit event highlights, learn more about upcoming 100 JAMZ promotions, or reach the station’s media team, the brand can be found on Facebook and TikTok, and followers can keep up with the latest updates via Instagram at @100jamz242.

  • ‘He made us feel special’

    ‘He made us feel special’

    A memorial service held on Monday at the Linden Seventh Day Adventist Church in New York brought together family, dignitaries, and admirers to celebrate the life and legacy of Slinger Francisco, the iconic performer universally known as The Mighty Sparrow, who passed away on September 27 at the age of 91 after a short, undisclosed illness.

    Widely celebrated across the globe as the “Calypso King of the World”, the man behind the legendary stage persona was first and foremost a devoted, loving family man to his wife Margaret and his 13 children, according to his daughter Gina Francisco, who delivered a heartfelt, personal tribute during the service.

    Gina shared intimate childhood memories of growing up surrounded by the sounds of her father’s craft, recalling the constant hum of music taking shape in their home — a backdrop that sometimes felt like an annoyance to young children, but ultimately revealed the extraordinary work of one of the world’s greatest musical innovators. She praised the tight-knit community of artists that collaborated with her father, noting that his perfectionist approach to his craft was supported by an “amazing” music family that helped fuel his decades of success, and expressed deep gratitude for their role in his legacy.

    Beyond the spotlight and the crown, Gina emphasized, her father was a husband, grandfather, great-grandfather, relative, and friend who had a unique ability to make every person he met feel seen and special. “I don’t know how that man could love everybody and make them feel like they’re so special. I thought I was special and then I saw how he treated others. I’m like, they’re special too?” she joked, adding that watching his radical openness with everyone taught her to share his love and appreciate the joy he brought to every interaction. “He was just welcoming to everyone. He loved family, that’s one thing he loved.”

    Gina also recalled a tender, formative moment when she told her father of her decision to get baptized decades ago. Though he initially expressed quiet displeasure with her choice, never forcing his opinion but making his feelings clear, she was shocked and overjoyed years later when he made the decision to be baptized himself. Fighting back tears, she described watching her ailing father, who could no longer walk on his own, carried into the baptismal pool without a single complaint. That quiet, uncomplaining grace marked his later years, she said, as the man who had once traveled the entire world found his world growing smaller with age, yet never expressed frustration or bitterness. “He taught me how to be just at peace with whatever God gives you, and he was praying regularly,” she said.

    Dignitaries in attendance also shared tributes honoring the far-reaching cultural impact of Sparrow’s life and work. U.S. Congresswoman Yvette Clarke noted that Sparrow’s talent could never be confined by national borders: born in Grenada, the self-described “spice island”, and raised in Trinidad and Tobago, his music spread across the Caribbean, through the global African diaspora, and to every corner of the world. “His music travelled across the Caribbean throughout the African diaspora around the world giving voice to our people, telling our stories, challenging conventions and bringing joy to generations,” Clarke said. She called Sparrow far more than an entertainer, framing him as a cultural institution, trailblazer, and innovator who lifted Caribbean culture and calypso music to the global stage. For New York’s large Caribbean diaspora community in Brooklyn and beyond, she added, his legacy is woven into the very identity of the community, connecting generations and affirming the power of their shared history and culture.

    Neil Parsan, Ambassador and Permanent Representative of Trinidad and Tobago to the United Nations in New York, also spoke to Sparrow’s transformative impact. What began as a career performing in small calypso tents across Trinidad and Tobago grew to sell out global stages, Parsan noted, and Sparrow carried the distinctive wit, creativity, and spirit of Caribbean people everywhere he went. “That was one of his great gifts to make a nation feel seen. He could take the things that people were talking about in the streets and give them rhythm and a life of their own,” Parsan said. Beyond his own fame, Parsan added, Sparrow’s greatest achievement was opening doors for future generations of calypso artists, earning global respect for the art form and proving that Caribbean stories deserve a place on the world’s biggest stages. He truly earned his title as the “Calypso King of the World”, Parsan affirmed.

  • Santo Domingo Book Fair draws 714,322 visitors and tops RD$97 million in sales

    Santo Domingo Book Fair draws 714,322 visitors and tops RD$97 million in sales

    The Dominican Republic’s 28th iteration of the Santo Domingo International Book Fair (FILSD 2026) wrapped up its 11-day run on Sunday, delivering milestone metrics that outpace the previous edition’s turnout, according to the nation’s Culture Minister Roberto Ángel Salcedo.

    In an official closing ceremony held at the Carlos Piantini Hall of the Eduardo Brito National Theater, Salcedo announced preliminary sales figures topped RD$97 million, while total visitor numbers reached 714,322 — a new high mark for attendance at the annual cultural gathering. Alongside releasing the event’s results, the minister confirmed major changes for the 2027 edition: the fair will extend from its typical 11-day schedule to a full two weeks, running September 12 through 26 next year.

    Held this year from September 24 to October 4 at the Juan Pablo Duarte Cultural Plaza, FILSD 2026 centered its programming around two special honorees: celebrated Dominican writer José Mármol, who served as the fair’s featured guest author, and the Central American nation of Panama, named the event’s official guest country of honor. Over the course of the fair, organizers put on more than 700 cross-disciplinary cultural activities, spanning author conferences, industry panel discussions, new book launches, poetry recitals, creative writing workshops, film screenings, and live theatrical performances, offering something for casual readers and cultural industry professionals alike.

    The 2026 gathering drew a diverse international cohort, bringing together more than 70 globally recognized writers, 32 publishing houses from outside the Dominican Republic, 21 local Dominican publishing brands, and 44 independent local bookstores. This broad participation created unique networking and collaboration opportunities for authors, bibliophiles, publishing executives, and other cultural workers to connect and exchange ideas.

    To advance the fair’s core mission of expanding public access to literature, organizers launched the Bono Libro initiative, which distributed 7,000 free books to school students who took part in scheduled fair activities, helping to nurture young reading habits across the Dominican Republic.

    The closing ceremony also included a special recognition segment, where the annual “Lifetime Achievement in Books” award was presented to Juan Emilio Báez Melo, a veteran Dominican bookseller and researcher. The honor was granted in recognition of Báez Melo’s decades-long contributions to the national publishing sector, Dominican literary production, and the preservation and celebration of Dominican cultural identity. Along with the professional distinction, the award carried a RD$300,000 cash prize.

    Panama’s role as guest of honor extended far beyond literary programming, with the Panamanian delegation organizing a full slate of events highlighting the nation’s diverse cultural heritage, including live music performances, traditional gastronomy showcases, national film screenings and more. Panama’s Culture Minister María Eugenia Herrera was in attendance for the closing ceremony, joined by the Panamanian writers and artists who participated in the fair’s activities over its 11-day run.

    In his closing address, Salcedo commended the work of FILSD 2026’s entire organizing team for executing a successful, accessible event. He emphasized that the record turnout and sales confirm the fair’s enduring importance as a platform to promote reading, elevate Dominican and international literature, and foster connection between the country’s cultural and publishing communities. Salcedo closed by reaffirming the Dominican Ministry of Culture’s ongoing commitment to supporting the national publishing sector and expanding public initiatives that encourage lifelong reading habits across all age groups.

  • Zaine Frederick Places First Runner-Up at Miss Essence and Mind International 2026

    Zaine Frederick Places First Runner-Up at Miss Essence and Mind International 2026

    On Saturday, October 3, the Caribbean’s top emerging pageant contenders gathered in St. Maarten for the 2026 Miss Essence and Mind International Swimsuit Pageant, where Antigua and Barbuda’s representative, Zainé Frederick, turned in a standout performance that cemented her place as one of the region’s most promising pageant stars.

    Frederick, 22, who earned the right to represent her nation after being crowned Antigua and Barbuda’s 2025 Queen of Carnival earlier this year, competed as Contestant No. 7 against a field of competitors from across the Caribbean region. When the final scores were tallied, organizers from the Essence and Mind organization announced that Frederick had secured first runner-up honors, with Miss St. Maarten taking home the overall 2026 crown.

    Beyond her overall placement, Frederick also claimed victory in two key competitive segments: the Interview portion and the Identical Swimwear category, according to official results viewed by Antigua Newsroom. Her strong showing continues a remarkable two-year streak of top placements for Antigua and Barbuda at this international competition. In 2025, another Antigua and Barbuda Queen of Carnival, Kia Kirwan, also finished first runner-up, falling just short of the top spot behind Kadijah Mulley of St. Kitts and Nevis. Like Frederick this year, Kirwan also took home a win in the Identical Swimwear segment, additionally sharing the Best Creative Pink Swimwear award and claiming Best Glitz and Glammed Swimwear.

    This pageant marks Frederick’s second regional competition appearance since claiming her national crown earlier this year, highlighting the young contender’s growing presence on the international pageant circuit.

  • Panama and the Dominican Republic sign agreement to promote film co-productions

    Panama and the Dominican Republic sign agreement to promote film co-productions

    On the sidelines of the XXVIII Santo Domingo International Book Fair (FILSD 2026), where Panama holds the position of guest of honor, the two Latin American nations took a major step forward in cultural collaboration this Saturday by formalizing a landmark bilateral agreement to advance joint film and audiovisual projects.

    The official signing ceremony was completed by Panama’s Minister of Culture María Eugenia Herrera and Dominican Minister of Culture Roberto Ángel Salcedo. According to Panama’s Ministry of Culture, the new agreement is designed to reinforce cross-border cooperation, unify shared resources, production capabilities, and creative talent from both countries, and drive overall growth of the regional film and audiovisual industry.

    In an interview with EFE, Herrera outlined the core goals of the new framework. The agreement’s central mission, she explained, is to empower creative artists by acting as a connecting bridge between creators and film production companies, while catalyzing growth of the private creative sector. “The industry needs to be strengthened, and our role as a ministry is just that organizational bridge that lets artists take the lead in development, while incentivizing private investment to support filmmakers and broader cultural progress,” she added.

    Both nations are already signatories to the broader Latin American Film Co-production Agreement, and officials note that this new bilateral deal creates a targeted, streamlined framework to deepen that existing partnership, removing administrative and logistical barriers to launching collaborative projects. For Panama, the agreement also opens new doors to expand international engagement and create more opportunities for Panamanian producers and industry professionals to join large-scale regional initiatives.

    Herra also emphasized that creative industries are a major contributor to national gross domestic product and broader economic development, and praised the Dominican Republic’s well-documented, successful track record of growing its domestic film sector in recent years.

    Beyond the new film agreement, Panama’s guest of honor status at FILSD 2026, which concludes its run this Sunday, has featured a packed schedule of cultural exchanges showcasing Panamanian art and creativity to Dominican audiences. Herrera highlighted standout events including a September 28 performance of the iconic Russian ballet *Swan Lake* by the Panamanian National Ballet. She also drew attention to the Panama Symphony Orchestra, which is celebrating its 85th anniversary this year and scheduled a major performance at Santo Domingo’s National Theater for the same Saturday the film agreement was signed.

    More than 35 Panamanian writers have taken part in fair activities, holding collaborative sessions and exchanges with Dominican literary creators, while over 250 Panamanian artists across disciplines have participated in the event. Herrera extended thanks to the Dominican people for what she called their warm, brotherly hospitality throughout the fair.

    “This collaboration proves that art is meant to be shared, that exchanging culture deepens the bonds between our peoples, and that we are united by common ground even as we celebrate our beautiful diversity. We are both multicultural and multiethnic nations,” Herrera said. “Panama seeks to connect with the entire world, and the best way to let people get to know us is through our culture and our artists – they are the living voice of our nation.”

    For his part, Salcedo praised the commitment and enthusiasm Panama brought to its guest of honor role, noting that the participation of the Panamanian National Symphony Orchestra, National Folkloric Ballet, and delegation of more than 30 Panamanian writers demonstrated the country’s deep dedication to cultural exchange.

    Speaking about the new film co-production agreement, Salcedo explained that the deal will enable joint projects that leverage the existing supportive structure of Dominican film law, as well as the stunning, diverse natural landscapes both Panama and the Dominican Republic offer.

    These collaborative productions, he noted, will advance regional integration and strengthen the Latin American film ecosystem as a whole – a priority that Central America and the entire Latin American region must continue advancing. Salcedo called the agreement a high-impact first step that lays the groundwork for a far broader, more diverse regional audiovisual sector.

    “It is a first step of extremely high value, of great significance in creating a much broader and more diverse base in the audiovisual world,” he said.

  • The Great Dennery Segment Debate

    The Great Dennery Segment Debate

    When non-Saint Lucian artist Klassik took home the Dennery Segment Song of the Year honor at the 2025 Caribbean Music Awards for his hit track *Dansa*, the angry backlash from Saint Lucian music fans was swift, yet deeply misdirected. This outcry, rooted in the belief that a genre born on Saint Lucian soil should only be awarded to local creators, ignores both the structure of modern music awards and the long history of cross-cultural adoption that has shaped global music for decades.

    What makes this reaction particularly striking is how inconsistent it is across the Caribbean. Few Jamaican music fans raised objections when Trinidadian artist Prince Swanny took home the Dancehall Album of the Year award, and no widespread uproar emerged from Dominica when Guadeloupe’s 1T1 won the Bouyon Song of the Year honor. This double standard reveals a deeper disconnect: many Saint Lucians who now protest the award cannot even clearly define what Dennery Segment is, and many of the same angry voices were among the millions who streamed, shared, and celebrated *Dansa* when it went viral last year. The vitriolic attacks on Klassik across social media are entirely uncalled for: the artist did not award himself the prize, he simply put in the work to create a hit that resonated with audiences and judges alike.

    To understand this debate, it is critical to revisit the origins of Dennery Segment. The genre first began to take shape in 2009, when young working-class musicians in rural southern Saint Lucia, centered in the coastal town of Dennery, began creating music rooted in their cultural identity. Lacking access to professional recording studios, these early creators wrote lyrics in local Kwéyòl (Saint Lucian Creole) and recorded their tracks on basic home laptops, sharing the music within their local communities. For years, the genre was dismissed and shunned by mainstream institutions, but it steadily grew into a beloved “rebellious sound” for young Saint Lucians, eventually gaining broader regional acceptance. As its popularity spread, artists from across the Caribbean and North America began experimenting with the genre, including Trinidadian stars Bunji Garlin and Machel Montano, Barbadian Hypasounds, and Miami-based Klassik, a New York-born artist raised in Jamaica. These outside artists have helped expand Dennery Segment’s global reach, bringing the distinct sound to millions of new listeners who would have never encountered it otherwise. So why, many ask, should outside creators be allowed to engage with the genre, but barred from winning awards for their work?

    A 2025 Carnival lecture hosted in Saint Lucia by University of the West Indies linguistics lecturer Dr. Ronald Francis broke down the three core pillars that define Dennery Segment. First, at its core is a distinct folk rhythm rooted in Saint Lucia’s African drumming heritage, specifically the Tressilo Rhythm. Second, its lyrics are overwhelmingly written in Kwéyòl (Saint Lucian English Creole), and often center on playful, lively themes around youth and courtship. Third, the genre draws its cultural power from its deep connection to lived Saint Lucian identity and local folk traditions. Beyond these core elements, the genre is also tied to distinctive, spontaneous dances that emerge for every hit track, adding another layer of cultural nuance that can only be experienced through participation.

    Critics who label Klassik’s win as cultural appropriation miss a long-established pattern in global music history. It is not uncommon for artists outside a genre’s place of origin to find mainstream success with the sound. Harry Belafonte, a New York-born artist raised in Jamaica, released the first LP to sell one million copies, an album of calypso music featuring the iconic *Day-O (The Banana Boat Song)* – a track whose classification as traditional calypso is still debated by ethnomusicologists today. Ironically, that same year, it remains unconfirmed whether the legendary “King of Calypso”, Trinidad’s Mighty Sparrow, sold a million copies of his hit *Jean and Dinah*, though his cross-genre soul ballad *Only a Fool Breaks His Own Heart* recorded with Byron Lee became an international hit. More recently, the first reggae track to top the Billboard Hot 100 was *I Can See Clearly Now*, recorded by American singer Johnny Nash in 1972, decades after reggae emerged in Jamaica. Even Dancehall, Jamaica’s iconic homegrown genre, got its first Billboard number one from Canadian artist Snow with his 1993 hit *Informer*, and rap – a cultural form born in Black American neighborhoods in the 1970s – got its first Hot 100 number one from white American rapper Vanilla Ice in 1990.

    Instead of directing anger at an outside artist who successfully elevated the genre, Saint Lucian music fans and industry leaders should be asking deeper, more constructive questions. First, what steps are being taken to formally protect the intellectual property of Dennery Segment as a uniquely Saint Lucian cultural creation? Second, why is there far less outrage over the fact that more than 50 percent of music played on local Saint Lucian radio is foreign content, meaning most royalty royalties collected by the Eastern Caribbean Collective Organisation for Music Rights are sent overseas to foreign artists instead of supporting local creators? What can be done to ensure top local Dennery Segment artists like Umpa, Blackboy, and Mighty earn larger, fairer royalty checks from their work? Why does mainstream Saint Lucian society still hold imported genres like country music in higher esteem than homegrown Caribbean sounds like Dennery Segment? And finally, are Saint Lucians truly committed to nurturing and protecting their native genre, or is the current outrage just performative, lip service paid only when a high-profile award grabs headlines?

    Until these questions are honestly addressed, the current debate will remain nothing more than noisy, emotional social media outcry that offers no path forward for the genre. The global music industry does not factor in nationality or place of origin when judging success; it rewards strategic growth, broad appeal, and economic impact. Instead of fighting over who gets to win awards, the focus should be on building a sustainable ecosystem that empowers both local and international artists to grow the genre, while ensuring Saint Lucian creators reap the benefits of their cultural legacy. At the end of the day, music is meant to be shared. Let the music play on.