Carib Scope

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  • Insane Carnival Photographer Justin Peters Honours Shannan “Dancer Boy Shan” Lawes and Asher Otto With Framed Carnival Portraits

    Insane Carnival Photographer Justin Peters Honours Shannan “Dancer Boy Shan” Lawes and Asher Otto With Framed Carnival Portraits

    As Antigua’s 2025 Carnival draws to a close and the final celebrations of Insane Carnival wrap up the island’s biggest annual cultural season, one long-time band photographer has seized the moment to celebrate two standout figures with one-of-a-kind gifts that spotlight the magic of Caribbean carnival culture.

    Justin Peters, a photographer celebrated for his sharp eye for detail and years of work capturing Insane Carnival’s participating “Troopers”, has built a reputation for more than just documenting the event—his work captures the deep joy of camaraderie, the explosion of vivid carnival colors, and the intricate artistry of Janna Costume Designs, one of the leading costume houses for Antigua Carnival.

    This year, Peters selected two of Insane Carnival’s most high-profile, globally recognizable representatives to receive framed, timeless fine art prints of his iconic shots of the pair: Shannan “Dancer Boy Shan” Lawes, a popular fitness and dance instructor and social media content creator, and Asher Otto, a beloved Antiguan vocalist. Both images have been used for years in international marketing campaigns to promote Antigua Carnival to global travelers, with Lawes’ portrait even earning a spot in a recent summer 2025 feature on Antigua Carnival in the globally renowned business and lifestyle publication *Forbes* magazine. In that feature, writer Baz Dreisinger detailed Lawes’ unforgettable experience playing mas with Insane Carnival, highlighting the one-of-a-kind cultural atmosphere that makes the Antigua and Barbuda national carnival stand out from other Caribbean festival celebrations.

    Both Lawes and Otto expressed heartfelt gratitude to Peters for the thoughtful, personal gift, noting that the photographer’s work accurately captured the raw, joyful emotion they felt while participating in the parade in custom costumes from Janna Costume Designs.

    The *Forbes* feature was widely praised by carnival organizers for its authentic portrayal of not just Antigua’s unique open-road carnival experience, but the distinct immersive celebration that Insane Carnival has cultivated since its founding. That vision, first introduced by Insane Carnival Managing Director Captain Lenroy Browne when the band launched in 2014, has been brought to life in partnership with Janna Henry, head designer and founder of Janna Costume Designs. Over 12 years, the band has built a legacy of innovation and celebration, with Browne often emphasizing that the best years for Insane Carnival still lie ahead.

    Insane Carnival’s leadership publicly commended Peters for his ongoing dedication to the band, his commitment to personal artistic growth, and his consistent ability to capture the joy, emotion and beauty of every Trooper participating in the celebration. Organizers noted that both Lawes and Otto are long-time, loyal members of the Insane Carnival community, making them deeply deserving of the honor. The exchange of the commemorative portraits also highlights the close, collaborative relationships that are at the core of Insane Carnival’s identity—an identity that has long lived by the band’s promise to members: “Expect Anything!”

  • Brantley: ‘Money is sure, but government payments take time’

    Brantley: ‘Money is sure, but government payments take time’

    CHARLESTOWN, Nevis — As one local band enters its second consecutive year of boycotting Nevis’ iconic annual cultural festival Culturama over payment scheduling conflicts, Premier Mark Brantley has publicly clarified the Nevis Island Administration’s (NIA) position on performer compensation, pushing back against growing concerns from entertainers over delayed payouts.

  • SPBS Dr. Stewart O. Williams Annual Awards Gala Set for September 5, 2026

    SPBS Dr. Stewart O. Williams Annual Awards Gala Set for September 5, 2026

    BRONX, N.Y. – Just days from now, the St. Kitts and Nevis diaspora community will gather for one of its most anticipated annual events, as the Society of People from Sandy Point (SPBS) hosts its 2026 Dr. Stewart O. Williams Annual Awards Gala on Saturday, September 5. Taking place at the iconic Maestro’s Catering Hall in the Bronx, this year’s gala centers on the powerful theme “Rooted in Service, Grounded in Giving Back” – a mission that aligns perfectly with the legacy of the event’s namesake, SPBS’s late founder and president Dr. Stewart Williams.

    The event will operate under the distinguished patronage of two respected community leaders: Dr. Irvin Sweeney and Mrs. Vernice “Debbie” Williams, widow of Dr. Stewart Williams. Renowned family physician and healthcare executive Dr. Maurice Duggins will deliver the evening’s keynote address, drawing from his own decades-long journey of service to share insights with attendees.

    For Dr. Sweeney, the role of gala patron is a fitting recognition of a lifetime spent lifting up communities across St. Kitts and Nevis and the United States. Born and raised in the De Village community of St. Kitts, Sweeney overcame profound hardship early in life – losing his mother at age 12 and facing significant financial barriers – to build a legacy of impact across education, public service, sports, and culture. A trailblazer in youth development, he has held senior roles including National Youth Skills Director, Special Assistant to St. Kitts and Nevis’ Minister of Education and Youth Affairs, and a diplomatic posting at St. Kitts and Nevis’ Embassy in Washington, D.C., where he served as Minister Counselor and Chargé d’Affaires between 1994 and 1995, with accreditation to the U.S., World Bank, United Nations, and Organization of American States. Today, he serves as Associate Dean of Campus Operations and Retention at Camden County College in New Jersey.

    His contributions extend far beyond public service and education. A talented athlete, Sweeney represented St. Kitts in national football, claimed five consecutive national table tennis championships, captained the Santos Football Club, and held executive roles on both the St. Kitts Cricket Association and St. Kitts Table Tennis Association. In the cultural sphere, he made indelible marks on calypso: he won the St. Kitts Calypso Monarch title at just 18 years old in 1970, reclaimed the crown in 1975, placed in the top three of 12 out of 14 consecutive national finals, and worked to expand opportunities for young artists by founding the Basseterre Junior High School Calypso Competition and the country’s first National Youth Calypso Competition.

    Headlining the evening’s program as keynote speaker is Dr. Maurice L. Duggins, another St. Kitts-born leader who has built a distinguished career in healthcare and medical education. Raised in Sandy Point, Duggins relocated with his family to the U.S. Virgin Islands in 1978, before completing his undergraduate education at Sterling College in Kansas and earning his medical degree from the University of Kansas School of Medicine in 1993. After finishing his family medicine residency in Wichita, he dedicated his career to serving underserved populations, taking on a role as Medical Director of a community safety-net clinic before joining the Ascension Via Christi Health Family Medicine Residency Program as faculty in 2002.

    For more than 20 years, Duggins has trained the next generation of physicians as a Clinical Associate Professor at the University of Kansas School of Medicine, with research focusing on pressing public health challenges including childhood obesity, chronic disease management, and systemic health disparities. He has held a series of senior leadership roles across the region’s healthcare sector, including President of the Via Christi Medical Staff in 2009 and 2010, President of the Medical Society of Sedgwick County starting in 2023, and currently serves as Chief Medical Officer of Ascension Via Christi St. Joseph, where he leads initiatives to improve patient care, physician engagement, and clinical quality. In his keynote, he will trace his journey from his childhood in Sandy Point to his current role as a top healthcare leader, highlighting the values of perseverance, service, and community that have shaped his career.

    Founded to honor the legacy of the Sandy Point community, SPBS’s core mission centers on strengthening connections across the global St. Kitts and Nevis diaspora, nurturing service-driven leadership, expanding access to education, celebrating cultural heritage, and advancing community development. Through the annual Dr. Stewart O. Williams Awards Gala, the organization recognizes outstanding contributions from community members, elevates emerging talent, and celebrates the enduring spirit of giving back that Dr. Williams championed throughout his lifetime. This year’s event continues that tradition, bringing together community members to celebrate decades of collective impact and inspire the next generation of leaders.

  • Grand Market vendors call for December return

    Grand Market vendors call for December return

    The just-concluded 10-day Caribbean Grand Market has outperformed all initial projections, leaving participating artisans and vendors so satisfied that they are already calling for a follow-up edition as early as December this year, according to Carol Roberts, chief executive of the National Cultural Foundation (NCF).

    Roberts shared that informal conversations with vendors have revealed widespread demand for another run of the popular market before the end of the year. “I can tell you anecdotally that quite a number of vendors are already asking for a similar rollout and experience in December, which says a lot about how positively this event landed for them,” she noted.

    Rooted in post-CARIFESTA legacy planning, the 2024 Caribbean Grand Market was created in direct response to a government mandate issued after last year’s Caribbean Festival of Arts. The core goal of the initiative was to carve out a dedicated, high-profile space for regional creative talent to showcase their work to the public, aligning with a directive from the country’s prime minister to turn CARIFESTA’s momentum into long-term opportunities for creatives.

    Roberts expressed full confidence that the NCF delivered on that promise. “I think it’s been a very good ten days in terms of the execution of the event and being true to the prime minister’s mandate,” she said. “This is one of the key legacy initiatives coming out of CARIFESTA last year. We were directed to remount the Grand Market to make sure that it captured all of the flavours, the sights, the sounds, and the creativity of the Caribbean — and that is exactly what we are confident we have delivered.”

    Nearly 150 primary vendors set up stalls across the event’s venue at CARIFESTA House in Waterford, offering a diverse array of goods that spanned far beyond traditional handicrafts. Attendees could browse original visual art pieces, handcrafted home decor, artisanal fashion, natural spa and wellness products, and specialty gourmet foods from across the region. A dedicated food court also drew large crowds of food enthusiasts, serving up authentic signature dishes from eight different Caribbean nations.

    Roberts explained that the event’s daily attendance followed a predictable seasonal pattern, shaped by the warm Caribbean climate. “It is a hot time of year, and therefore we very quickly realised that we would have a good crowd in the morning, a lull when the sun is at its hottest, and then the crowds will build back up in the evening,” she said. “And so said, so done, that’s exactly what has happened.” She added that the recent timing of government and national paydays also gave a boost to consumer spending, with most vendors reporting strong, satisfying sales figures.

    Beyond the retail experience, NCF organizers built out a diverse, multi-genre entertainment lineup to complement the market, moving beyond the familiar soca acts that dominate seasonal events. The programming included spoken word performances, cabaret shows, traditional spouge music, vintage calypso, and jazz sets, while also providing a professional stage for emerging creative talent developed through existing NCF outreach programs.

    The successful model of the Caribbean Grand Market aligns with broader national goals to build a sustainable, year-round event calendar for the region’s creative industries. In the wake of overwhelmingly positive feedback from both vendors and attendees, the NCF is already actively planning future editions to keep consistent commercial opportunities open for regional creators.

    Roberts emphasized the long-term economic and cultural value of expanding the market. “The Caribbean Grand Market is ripe for further expansion, exploitation, and execution,” she said. “The more that we as a country and as a region can create opportunities not only for cultural producers to manufacture and display their work, but for us to buy from our own, using for the vast majority our raw materials from the region, it augurs well for everyone.”

    While a full formal post-event evaluation is still scheduled to be completed in the coming weeks, Roberts confirmed that early feedback points to overwhelming vendor interest in holding another edition much earlier than the planned next summer cycle, with December emerging as the clear preferred timeline from participating creators.

  • Rootz Krokus presents “Out of the Krokus Bag” during Antigua and Barbuda Art Week 2026

    Rootz Krokus presents “Out of the Krokus Bag” during Antigua and Barbuda Art Week 2026

    Four Antiguan creators who built their careers and lives across different parts of the world are coming home to launch a groundbreaking multidisciplinary arts collective, centered on reanimating ancestral memory for contemporary Caribbean communities. Named Rootz Krokus, the collective brings together artists Afreekan Southwell, Iyaba Ibo Mandingo, Makŏ S. Williams, and Zucan Bandélé for their official debut, headlined by the immersive eight-day event *Out of the Krokus Bag*, running November 11–18, 2026 as a centerpiece of Antigua and Barbuda Art Week 2026. The event is hosted by St. John’s Makŏ Fine Art Gallery on Cross Street.

    Each of the four artists brings a unique set of skills, lived experiences, and creative perspectives shaped by years of work outside Antigua, spanning disciplines from painting and sculpture to dance, spoken word, ritual performance, and cultural storytelling. United by the core philosophy “Making Ancestral Memories Meaningful,” the collective explores a timely question: how can connection to ancestral heritage help modern people better understand their current identities and shape their future paths? Instead of erasing individual artistic voices to fit a single collective style, Rootz Krokus intentionally creates space for differing perspectives to interact, challenge one another, and spawn entirely new creative works that no single artist could produce alone.

    The collective draws intentional links between modern daily life in Antigua and enduring ancestral African traditions, which remain woven into the fabric of Caribbean culture through Carnival, masquerade, folklore, rhythm, movement, spiritual practice, and community gatherings. Rejecting the framing of these traditions as static relics of a distant past, Rootz Krokus argues that ancestral knowledge has a vital role to play today, fostering self-acceptance, strong personal and communal identity, and emotional resilience for contemporary Caribbean people.

    As collective members explain, “Rootz Krokus is not just a name. It is a philosophy. We are grounded in ancestral knowledge while looking toward the future. Our work creates space for people to remember, question, celebrate, and rebuild connections to the stories and memories that shaped us.”

    For Art Week 2026, *Out of the Krokus Bag* will reimagine the Makŏ Fine Art Gallery as a dynamic, living creative space, breaking down traditional barriers between art and audience. The packed schedule of daily programming goes far beyond static gallery exhibitions, including live dance and spoken word performances, sculptural painting demonstrations, traditional drumming, interactive mask workshops inspired by Moko Jumbie and Jam Bull traditions, chair yoga and midday meditation sessions, and collaborative community art projects. The full week of events will also feature an opening celebration, open mic nights, live painting sessions, poetry theatre, cultural lectures and conversations, a special project titled *Memories of Wadadli*, and a closing presentation to wrap the gathering.

    At its core, the project is built on a simple but powerful belief: cultural memory is not a passive inheritance passed down through generations. It is a living practice that requires active exploration, deliberate preservation, creative reinterpretation, and intentional sharing with future communities. Rejecting rigid boundaries between artistic disciplines, Rootz Krokus centers collaboration as its core operating principle, allowing each medium—from visual art to performance to storytelling—to shape and respond to the others.

    The 2026 Antigua and Barbuda Art Week marks just the starting point for the collective. Rootz Krokus is already building long-term partnerships with independent artists, cultural institutions, community organizations, independent venues, and creative partners across Antigua and Barbuda and the wider Caribbean region, with plans for future projects and collaborations down the line. The collective extends an open invitation to all members of the public, local and visiting artists, potential collaborators, educators, and cultural partners to attend *Out of the Krokus Bag* and contribute to shaping the collective’s future work.

    A closer look at the four founding members highlights the range of perspectives they bring to the project. Iyaba Ibo Mandingo’s multidisciplinary practice is rooted in spoken word, performance, storytelling, and visual art, drawing on language, rhythm, and lived experience to explore identity, history, collective memory, and the modern Caribbean experience. Afreekan Southwell works across movement, performance, dance, and cultural practice, centering the continued legacy of African and Caribbean traditions through bodily expression, masquerade, rhythm, ritual, and contemporary performance. Makŏ S. Williams, an Antiguan-American multidisciplinary visual artist, maintains a practice spanning painting, mixed media, technology, design, and cultural storytelling; after developing her craft at leading New York institutions including FIT, Empire State University, Teachers College Columbia University, and SVA, she returned to Antigua, where her work now focuses on themes of home, memory, identity, Caribbean landscape, spirituality, and the layered cultural textures of Antiguan life. Rounding out the collective, Zucan Bandélé is an Antiguan artist and storyteller whose work combines visual art, sculpture, and narrative exploration of cultural memory; his research into the ways Caribbean people understand themselves through objects, language, and shared experience was a core inspiration for the *Out of the Krokus Bag* project.

    Bound by their shared Antiguan roots, their journeys away and return home, and their commitment to honoring the past while building for the future, the four artists have built a collective that reimagines what cultural art can do for modern communities.

  • A Year of “How I Got Here”: Nicole Craig on Heartbreak, Motherhood, and Finding Her Voice

    A Year of “How I Got Here”: Nicole Craig on Heartbreak, Motherhood, and Finding Her Voice

    It has been 12 months since Nicole Craig stepped into the spotlight to celebrate the launch of her deeply personal debut album *How I Got Here* — a project that consumed five years of her life, every stitch stitched from raw, lived experience. Looking back, the independent singer-songwriter admits she let anxiety steal much of the joy of that big night.

    On launch evening, surrounded by a room full of cheering supporters, Craig found herself stuck cycling through a mental list of potential missteps instead of savoring the milestone. She even forgot to eat dinner that night, a small detail that sums up the overwhelming pressure she felt in the moment. “It was a big moment for me, and all the logistics and possibilities of what could go wrong plagued me,” she recalled in a recent interview. “I wish I had soaked it in a lot more.”

    A year of distance has given Craig the space to breathe and reflect on what the album actually means to her, and what it has meant for the listeners who connected with it. Today, the album is out in the world, heard by thousands of fans, and its emotional resonance has exceeded even her quietest hopes. For Craig, the greatest win wasn’t chart positions or viral streams — it was finishing what she started, and pushing past the crippling fear of judgment that held her back for years.

    “I spent way too much time in the past concerned about what if people hate it? What if people judge me?” she said. “I’m proud of myself for putting it out there regardless. What matters most is if I love what I created.”

    That fear was not unfounded. The five-year journey to release *How I Got Here* was littered with obstacles common to independent artists: repeated production delays, funding gaps, scheduling conflicts that pushed the launch back again and again. What most listeners didn’t know while streaming the record was that Craig planned and executed the entire album rollout while pregnant. Determined not to let her transition into motherhood delay the project for another one to two years, Craig turned finishing the album into a testament to moving into life’s next chapter on her own timeline.

    “Finishing what I started was now more than just about healing or facing fears as an artist, but it also became about moving into a brand new phase of life and wanting to be ready to tell new stories about it,” she explained. “Was it tough doing this while pregnant? Yes, there were many unexpected logistics that had to be considered that my team and I did not account for, but we were determined to follow through.”

    True to form, Craig refused to compromise her artistic vision for commercial appeal. The record is a genre-blending work that incorporates Kriol, drawing entirely from her personal experience rather than chasing current industry trends. It’s a risky choice for any new artist aiming to grow their audience, but it’s one that Craig says was non-negotiable. “I didn’t choose a sound or topic because it was trending, or what the people dig listen to right now,” she said. “I did what felt right to me. That’s a tough choice to make when getting new listeners is a major goal of releasing a project.”

    That gamble paid off in the way that matters most to Craig: fans reached out in droves to tell her that her music made them feel seen. Messages poured in from listeners who connected with the record’s themes of relationship heartbreak, self-discovery, and the search for authentic love — universal experiences that Craig did not expect to resonate so widely. “It was heartwarming to get so many messages from people who felt a real connection to the topic and the lyrics,” she said. “I learned how many people felt seen or heard and genuinely appreciated that I created this music.”

    While Craig’s core opinion of the album’s tracks hasn’t shifted over the past year, her relationship to the music has transformed, as life and personal growth have given her new perspective. “I wouldn’t say my views of the songs have changed, but I can say I’ve seen how much I’ve grown,” she explained. “There are certain things I sang about that I wouldn’t do or accept today. I do see how life experiences shape you, and I’m glad that I gained confidence and self worth in the process.”

    When asked which track holds the most meaning for her today, Craig answers without hesitation: *Rest of My Life*, a track that perfectly mirrors where she stands now. “I’m just in a really happy place in my life. I’m focused on moving forward, peace, happiness and living a beautiful, full life,” she said. “That song genuinely makes me happy, and so far, it feels like the best song I’ve ever written. I’m really proud of it. I am dying to perform it with J.Cas again.”

    In the 12 months since release, *How I Got Here* has taken on a life of its own: it’s landed in the DMs of Craig’s new fans, earned regular radio play, secured a spot in the Channel 5 Christmas TV special *Nicole and Friends at Christmas*, and finally made it to the stage, where Craig performed her original music live for the first time in her career.

    Now, Craig is slowly returning to the studio to work on new material, drawing fresh inspiration from her new role as a mother. She’s currently crafting an upcoming holiday project filled with original songs, and says that motherhood will be a central theme of her next chapter of work. “As always, I sing about life, and so I’m sure many people will be able to relate to what’s coming too,” she said.

    But Craig is far from done sharing *How I Got Here* with the world. Even as she works on new music, she plans to keep showcasing the debut album for new listeners, and is eager to return to the stage to perform it for live audiences. “I know there are so many people who haven’t heard my music or didn’t see the album showcase,” she said. “Even though I’m working on new music, I will continue shining a light on *How I Got Here* to keep introducing it to new people who haven’t had the chance to hear it. I’m ready to start performing again!”

    Fans will get their first chance to see Craig perform the album live this September, when she takes the stage on the 3rd, 4th, and 6th as part of the Francis Reneau Concert Series at the Bliss.

  • Miss Corozal Xioleni Ruiz Crowned 81st Queen of the Bay Designate

    Miss Corozal Xioleni Ruiz Crowned 81st Queen of the Bay Designate

    A new chapter of Belizean cultural pageantry has begun, as Miss Corozal Xioleni Ruiz secured the coveted title of 81st Queen of the Bay Designate during a tightly contested competition held ahead of the country’s key national observance. The annual event, which celebrates Belizean cultural identity and patriotic spirit, brought together seven outstanding contestants, each representing their distinct hometown communities across the Central American nation.

    Over the course of the pageant, competitors were evaluated on a range of criteria that highlighted not just physical poise, but personal character, public speaking skill, connection to national heritage, and pride in Belizean identity. Ruiz stood out among the field of talented delegates, ultimately claiming the top honor that will see her serve as a cultural ambassador for the country in the coming year.

    In her first public address immediately after the win, an emotional Ruiz expressed gratitude to every person who supported her journey to the title. “There are so many different emotions running through me right now,” she shared. “But first and foremost, I want to thank God, who I placed at the center of this entire journey. I also owe this to my family, my entire team, my pageant coordinator, my whole community back in Corozal, every person who cheered me on through social media, and everyone who had a hand in this. None of this would have been possible without all of you, and I am so grateful.”

    The runner-up positions went to two other standout competitors: Miss Stann Creek Central D’Andra Mejia took home 1st runner-up honors, while Miss Belize City Raheema Hafiya claimed the 2nd runner-up spot. Pageant organizers publicly commended both women for their compelling performances and the dedication they showed in representing their respective regions.

    Two additional special awards were handed out to recognize exceptional achievements beyond the main competition. Miss Toledo Emely Castro was honored with the prestigious Emma Boiton Award, while Miss Belmopan Rhea Henry received the Opal’s Glow Award, an honor also widely known as the Miss Amity prize for contestants who demonstrate exceptional warmth and community spirit.

    Ruiz will not receive her official crown until the Battle of St George’s Day national ceremony on September 10, when outgoing Queen Samantha Ramirez will pass the title to her successor. The timing of the coronation ties the long-running pageant tradition directly to Belize’s national heritage, linking the celebration of young Belizean women to the country’s historic milestones.

  • Saint Lucians celebrate La Woz amid calls for a national flower festival

    Saint Lucians celebrate La Woz amid calls for a national flower festival

    Every August 30, the Caribbean island nation of Saint Lucia gathers to honor one of its most cherished cultural traditions: La Woz, the Rose Festival. This vibrant annual gathering is one half of Saint Lucia’s iconic dual flower festival heritage, alongside the La Marguerite Festival, weaving centuries of local custom into modern communal life.

    For weeks leading up to the main celebration, community-centered seances (traditional gatherings) are hosted across every corner of the island, building anticipation for the climactic final events: a formal interdenominational church service and the grand Gwan Fete La Woz. Each year, the honor of hosting the main festivities rotates to a different Saint Lucian community; for 2024, that distinction went to Monchy, a quiet coastal district in the Gros Islet region.

    The service, held at Monchy’s St Rose De Lima Church – a sanctuary named for the same patron saint that inspires the festival – was led by chief celebrant Monsignor Patrick Anthony, a native son of Monchy who first served as a parish priest in this very community. During his address, Anthony laid out a long-held vision he has nurtured since the 1970s: to transform La Woz from a rotating regional celebration into a full national flower festival, with Monchy as its permanent geographic and cultural heart.

    “I had a vision of Saint Lucia having flower festivals. Saint Lucia should have a big festival of flowers and Monchy should be the centre of that. Viv La Woz!” Anthony declared to the congregation, which included Dr Ernest Hilaire, Saint Lucia’s Minister for Tourism and Culture, and leadership from the island’s Cultural Development Foundation (CDF) – the two bodies Anthony says he is formally presenting his proposal to.

    Anthony reflected on the turbulent history of the beloved festival, recalling a period when the Catholic Church excommunicated the celebration over public behaviors deemed inappropriate at the time. He credited late Bishop Charles Gachet for leading the process of reconciliation between the Church and festival organizers, noting that iconic late Lucian visual artist Sir Dunstan St Omer served as the critical bridge between the two groups. St Omer, who was commissioned to create murals for churches across the island, wove both Christian and traditional Lucian cultural symbolism into his work to help heal the rift.

    Pointing to the church’s St Omer mural, Anthony highlighted a small but meaningful detail: the wreath held in the infant Jesus’s hands incorporates floral elements from both La Woz and La Marguerite, cementing the festivals’ place in the island’s shared religious and cultural identity. Calling Monchy “Mama La Woz”, Anthony argued that positioning the community as the national festival hub would create unique new tourism draw for the island, comparable to the globally renowned Saint Lucia Jazz festival and beloved national Carnival. He envisions a month-long celebration every August that would draw visitors from across the Caribbean and beyond.

    To bring the vision to life, Anthony proposed a simple first step: require every household in Monchy to plant a small rose garden, then host an annual competition awarding $10,000 Eastern Caribbean dollars to the resident with the most beautiful garden. The proposal drew widespread agreement from attendees, with murmurs of approval rippling through the congregation.

    Anthony added that Monchy is already rich with untapped cultural potential, pointing to the nearby coastal village of Dauphin – the setting of Nobel Prize-winning poet and playwright Derek Walcott’s first play, *The Sea at Dauphin*. He called on the CDF to launch an annual Walcott theater competition based in Monchy, where local school groups could stage the playwright’s work for visitors and residents alike. “We are sitting on a gold mine, and we are not making use of it,” he emphasized.

    Following the formal church service, 2024 La Woz Festival activities shifted to the Monchy playing field, where performance groups from communities across Saint Lucia, plus a visiting troupe from neighboring Martinique, treated attendees to traditional folk songs and dance that carried the celebration late into the day.

  • Love Link Caribbean makes its Debut

    Love Link Caribbean makes its Debut

    On Friday, August 28, the highly anticipated first public screening of *Love Link Caribbean* — a groundbreaking Caribbean-focused reality dating series — kicked off in Antigua and Barbuda, drawing a diverse crowd of cast members, production leads, journalists, and key tourism industry leaders. Hosted at the scenic Weatherills Hotel, the invite-only premiere marked the official launch of the new project from local production outfit Love Link TV, giving attendees an early look at two full opening episodes that explore the universal themes of connection, romantic attraction, and the modern hurdles of finding lasting love, all set against the postcard-perfect natural and cultural backdrop of Antigua and Barbuda.

    Beyond its core focus on dating and relationship storytelling, the series carries a dual strategic mission: to position Antigua and Barbuda as the undisputed “Romance Capital of the Caribbean,” putting the island nation’s stunning natural attractions, vibrant local dining scene, and one-of-a-kind travel experiences in front of regional and global audiences alike. For cast members like Mijah Harrigan, who currently resides in Anguilla, the opportunity to join the project came as a happy surprise. Harrigan shared that he submitted his application on a whim, never expecting to earn a spot on the series, and only got his acceptance confirmation just two days after applying. For him, the show offered a rare chance to showcase his unique personality and growing personal brand, all while keeping an open mind to forming a genuine romantic connection. “It was a beautiful experience. I must say Antigua is a beautiful place, the cast are beautiful people,” Harrigan said of his time filming.

    Jamila Watkins, the lead producer of *Love Link Caribbean*, traced the project’s origins to her long-standing passion for reality dating content and a persistent gap she observed in the genre: a lack of authentic, nuanced representation of Caribbean people. Watkins explained that the positive reception and proven audience interest from the team’s earlier pilot project, *The Mixer*, confirmed that regional audiences were hungry for a homegrown dating series, giving the production team the confidence to expand the concept across the Caribbean. She emphasized that *Love Link Caribbean* weaves romantic storytelling together with distinct Caribbean culture and shared regional identity, while creating a organic, engaging platform to highlight Antigua and Barbuda as a top dream destination for romantic getaways and couple’s travel.

    Looking ahead, the production team holds ambitious goals for the series: they aim to build a loyal viewership that extends far beyond the Caribbean community, foster a deep sense of collective regional pride across Caribbean nations, and inspire curious travelers from around the world to plan a visit to experience the beauty and hospitality of Antigua and Barbuda for themselves. Beyond the series itself, the successful premiere of *Love Link Caribbean* also underscores a rapidly growing trend: Caribbean creative professionals are increasingly producing original high-quality film and television content tailored to both regional communities and global audiences, carving out a distinct new space for Caribbean storytelling in the international entertainment landscape.

  • René Depestre celebrates his 102nd birthday

    René Depestre celebrates his 102nd birthday

    One of the most towering figures in Haitian and global Francophone literature, René Depestre, marked his 102nd birthday with a heartfelt official tribute hosted at his long-time private residence, Villa Hadriana, on August 29, 2026. The ceremony was organized by the municipal government of Lézignan-Corbières, the southern French town where Depestre has resided for four decades, and featured a delegation from the Haitian Embassy in France led by Ambassador Louino Volcy.

    During the intimate event, Lézignan-Corbières Mayor Gérard Forcada presented Depestre with the city’s highest medal of honor. The distinction recognizes two core achievements: Depestre’s lifelong, groundbreaking contributions to world literature and Francophone cultural exchange, and his four decades of work building enduring ties of friendship between Haiti and his adopted French hometown.

    The municipal tribute follows a formal request submitted by the Haitian Embassy to France back in February 2026, as part of a year-long national series of events celebrating the iconic writer’s legacy. The embassy had additionally proposed that the city grant Depestre honorary citizenship and rename a local public space after the writer to cement his legacy in the community.

    In his address at the ceremony, Ambassador Volcy framed the medal as far more than a symbolic gesture, outlining three layers of deep meaning behind the honor. First, Volcy emphasized that the award recognizes not just Depestre as an individual, but the entire rich tradition of Haitian literature. It sends a powerful message that, even amid the severe challenges Haiti currently faces, the nation remains resilient — and its literary output stands as a lasting source of resistance, hope, and global influence. Second, the medal highlights the longstanding cultural bonds and friendship between Haiti and France, with Depestre serving for decades as a critical intellectual and artistic bridge connecting the two nations. Finally, Volcy noted that the tribute confirms Lézignan-Corbières is far more than just a temporary residence for the writer: it has become an integral part of his personal and professional story.

    Mayor Forcada echoed Volcy’s remarks, praising Depestre’s extraordinary, decades-long career that has inspired generations of writers across the globe. Forcada added that Depestre’s 40 years of living in Lézignan-Corbières has been a gift to the community, and has helped forge far deeper people-to-people and cultural connections between the small French town and the Caribbean nation of Haiti.

    For his part, the centenarian writer expressed deep gratitude to the mayor, the municipal government, and Ambassador Volcy for organizing the tribute. Depestre described the gathering of attendees honoring his life and work as a “beacon in the night of his 102 years,” a moving acknowledgment of the warmth and recognition he has received in his adopted home.

    The birthday tribute is just one of dozens of events taking place across France throughout 2026, all focused on celebrating Depestre’s remarkable life, reintroducing his expansive body of work to new audiences, highlighting his irreplaceable contributions to Francophone and global literature, and examining how his intellectual thought remains relevant to contemporary cultural and political conversations.