分类: entertainment

  • Veteran Guyanese politician launches autobiography “Enter the Political Kingdom”

    Veteran Guyanese politician launches autobiography “Enter the Political Kingdom”

    Guyana is set to host the official launch of *Enter the Political Kingdom*, a sweeping autobiography by veteran activist Moses Bhagwan, this Saturday, August 8, 2026. Organizers have announced last-minute changes to the event venue, shifting the gathering from the originally planned Umana Yana to Georgetown Club on Camp Street, between Middle and New Market Streets, kicking off at 5:00 PM. The venue change comes after the Ministry of Culture reallocated Umana Yana to serve as the MV Barima Information Centre for families affected by the recent maritime disaster that has shaken the nation.

    Curated and edited by a team of scholars including Alissa Trotz, Sasha Ann Panaram, and Nigel Westmaas, Bhagwan’s memoir traces seven decades of the author’s life, weaving together his firsthand experiences of Guyana’s unified anti-colonial movement, the fractious political landscape of the post-independence era, and the country’s Civil Rebellion. Rooted in the ideological legacy of the Working Peoples Alliance and its iconic leader Walter Rodney, the book offers intimate, incisive reflections on community organizing, grassroots social activism, and the central role of family in shaping Bhagwan’s life and values.

    The launch coincides with a period of national mourning, as Guyana grapples with the aftermath of the MV Barima tragedy, an unprecedented disaster in the country’s modern history that has claimed multiple lives, left survivors traumatized, and devastated families of the victims. Against this somber national backdrop, event organizers have made the decision to dedicate the entire launch to all those grieving the disaster, paying special homage to the lives lost and the still missing, whose absence compounds the suffering of affected families.

    Organizers argue that the timing of the memoir’s release carries particular resonance for the current moment. Across its pages, the book highlights the long history of Guyanese resilience, ingenuity, and collective solidarity in the face of hardship — qualities that have already been on display in the wake of the MV Barima disaster, as civil society groups, community organizations, and political leaders across divisions have joined together for rescue efforts and coordinated action.

    In a statement released ahead of the event, organizers said: “We take this opportunity to commend all efforts to locate the sources and causes of this catastrophe, as well as initiatives taken to sustain the families impacted. We call upon all Guyanese to continue to exercise intense vigilance as the process of unearthing the facts as they unfold, so as to ensure that no stone is left unturned in the effort to recover all the missing and dead, and to determine the truth of the causes of this tragedy in an honest, collective, transparent and accountable manner.”

    The event schedule has been adjusted to set aside dedicated time for messages of sympathy, solidarity, and support for all victims and their families, and will include prayers to comfort grieving communities.

  • SVG among top beach destinations in the Americas

    SVG among top beach destinations in the Americas

    A newly released 2026 ranking from leading global travel industry outlet Travel And Tour World (TTW) has cemented St. Vincent and the Grenadines (SVG)’s reputation as one of the Western Hemisphere’s most sought-after coastal getaways, placing the Caribbean archipelago at number 22 on the outlet’s prestigious list of Top 30 Beach Travel Destinations across the Americas and Caribbean.

    What makes this placement particularly notable is that SVG outranked no fewer than seven better-known regional and international coastal destinations, including major Caribbean favorites Barbados, Cuba, Curaçao, Dominica, Saint Barthélemy, as well as South American coastal hub Peru and Central America’s Honduras.

    Published to the public on Saturday, the global ranking was constructed through a rigorous, multi-level assessment methodology that grades destinations across six non-negotiable core criteria: natural coastal beauty, health and diversity of local marine ecosystems, visitor accessibility, commitment to sustainable tourism development, quality of local tourism infrastructure, and aggregate overall visitor experience.

    In its official evaluation, TTW emphasized SVG’s one-of-a-kind multi-island appeal, praising the nation for its collection of untouched islands, quiet secluded shorelines, and world-class serene Caribbean sailing opportunities that set it apart from more crowded, commercialized regional destinations.

    The report spotlighted 10 standout coastal locations across SVG’s archipelago that earned it the high ranking. These include Princess Margaret Beach on Bequia, celebrated for its fine powdery white sand; Tobago Cays, a crystal-clear marine reserve famous for allowing visitors to swim alongside wild sea turtles; Salt Whistle Bay Beach on Mayreau, an iconic postcard-perfect shoreline lined with sweeping palm trees; Macaroni Beach on Mustique, renowned for its unspoiled surf breaks; and Young Island Beach, a gold standard for intimate, luxury coastal getaways.

    Rounding out the list of featured destinations are Friendship Bay Beach, Lower Bay Beach, Cane Garden Beach, Indian Bay Beach, and Chatham Bay Beach, which together showcase SVG’s wide range of coastal offerings, from unique dark volcanic sands and calm sheltered swimming bays to quiet, remote escape spots far from mass tourism crowds.

    Shafia London, chief executive officer of the SVG Tourism Authority, called the global ranking a confirmation of what seasoned travelers and sailing enthusiasts have known for decades: St. Vincent and the Grenadines delivers a pure, authentic coastal experience that cannot be matched anywhere else in the region.

    “To be ranked 22nd across the entire Americas and Caribbean region, and to place ahead of many larger, heavily commercialized tourism markets, is a testament to our longstanding commitment to preserving our pristine marine environments and delivering sustainable, high-quality experiences for every visitor,” London added.

    The SVG Tourism Authority noted that this prestigious recognition arrives at a moment of strong growth for the nation’s tourism sector, as SVG continues to solidify its standing as the leading hub for luxury travel, eco-tourism, and maritime heritage tourism across the Southern Caribbean.

    Founded in 2009, Travel And Tour World is a leading global digital travel platform that distributes content to more than 25 million readers through 104 regional editions. The outlet is widely recognized as a trusted source of authoritative industry insights and research for both travel sector professionals and discerning travelers around the world.

  • West’s winning ways

    West’s winning ways

    Barbados’ iconic annual Crop Over festival reached its thrilling climax this week with the Grand Kadooment street parade, and it was an 83-year-old veteran of the celebration who walked away with the most prestigious industry honors, capping a turbulent, against-all-odds journey to the route. Betty West, the veteran bandleader and costume designer whose name has been inextricably linked to Crop Over for decades, led her entry *ICONS of Crop Over* to a clean sweep of top awards, including the coveted Best Festival Designer – The Robert Weekes Award, Best Presentation – Heritage, Best Band on the Road – The George Dear Award, and Small Band of the Year – Heritage. Yet what audiences and award judges saw as a flawless, triumphant procession was the end product of a months-long battle against financial strain, low registration numbers, and last-minute uncertainty that tested even West’s legendary grit.

    In an interview with Barbados TODAY immediately following the parade, the designer opened up about the constant anxiety that plagued her in the lead-up to this year’s event. “Challenging is the only word to describe it,” West said. “God has been by my side through this whole thing – I’ve never prayed so much in my life. I was terrified. We barely had any funding, and masquerader sign-ups were almost non-existent. It was a truly frightening situation. I shed more than a few tears, but I’ve never been one to walk away from a fight.”

    West originally registered her band in the large category, planning to field a 300-person ensemble that would fill out all her carefully designed costume sections. When sign-ups failed to pick up at the expected pace, she made the difficult call two weeks before the parade to switch her entry to the small band category – a decision she says was rooted in her commitment to upholding the festival’s standards and her own reputation for excellence. “I’m not the sort of person who cuts corners. I entered this competition wanting to win fair and square, and I refused to risk disqualification by staying in the large band category when I didn’t have the numbers to meet the requirements,” she explained.

    The last-minute switch meant West and her small, loyal skeleton crew pulled all-nighters to adjust costumes and get the entire band parade-ready. West herself was still finishing costume accessories at 3 a.m. on the morning of the parade, and none of the core team got any sleep before lining up on the route. “These people love me, and I love them back. They put in endless hours, working through the night to get everything done on time. We have total mutual respect, that’s what keeps this organization running so well,” she said, adding that she owed a special debt of gratitude to her niece Makayla, who stepped up to recruit and train the dance ensemble for the *Fancy Sailors* section, a tribute to West’s late friend and long-time rival Gwyneth Squires.

    West’s *ICONS of Crop Over* entry was far more than a competitive parade performance: it was a love letter to all the pioneering Crop Over creators who came before her, including Squires, Winston Jordan, Reggie Cave, Roseann Lewis, Robert Weekes and Renee Ratcliffe. “Each of these people helped me become the designer I am today, and they all helped turn Grand Kadooment into the incredible cultural spectacle it is now. We owed them this tribute,” she said.

    Despite the exhausting fight to put on this year’s entry, West shows no signs of stepping away from the festival she loves any time soon – though she is already laying the groundwork for the next generation to carry on her legacy. She has already begun mentoring a young creator she calls Angel and other emerging designers, teaching them the craft of costume design and how to run a successful festival band as a sustainable business. She says her willingness to learn from the new generation has been key to her continued success, breaking the myth that older creators cannot embrace fresh perspectives. “A lot of people think when you reach a certain age, you stop listening to young people. But I always ask for their input, and they often have brilliant ideas I would never have thought of. This is a team effort, full stop,” West said.

    Looking ahead to Grand Kadooment 2025, West is already planning ahead to avoid the funding and registration challenges she faced this year, saying she will start securing sponsorships as early as next month and kick off costume design work in November.

  • Put Emancipation themes on mas’ in Crop Over – official

    Put Emancipation themes on mas’ in Crop Over – official

    Barbados’ annual Crop Over festival, one of the Caribbean’s most vibrant cultural celebrations, is at a turning point as cultural leaders push to deepen its historical roots amid the revival of a beloved traditional art form. Rodney Grant, a programme advisor with the Office of Pan African Affairs and Heritage under the Division of Youth and Culture, is calling on masquerade band leaders to leverage the resurgence of large hand-crafted wire-bent costumes to weave clearer, more meaningful narratives of Emancipation, national Independence and reparations into festival performances.

    Grant argues that the oversized, visually striking costumes that are returning to Crop Over parade routes offer an unmatched platform to center the region’s anti-colonial and post-slavery history, rejecting the idea that themes of emancipation must be limited only to depictions of chattel slavery. “Emancipation is not static; it’s not stuck in slavery, because we didn’t stay there,” Grant explained, noting that modern interpretations can extend the narrative to include ongoing fights for sovereignty and racial justice through the push for reparations.

    The push comes on the heels of a successful 2024 festival that marked the welcome return of Cohobblopot, the iconic showcase of masquerade bands, and a visible resurgence of the elaborate wire-bending craft that once defined Crop Over’s grandest parade displays. Grant commended the National Cultural Foundation (NCF) for reviving large-scale costume displays along the Spring Garden parade route this year, saying the towering pieces left an indelible impression on attendees and stood out as the most memorable element of the entire festival.

    Interest in reviving the nearly forgotten art of wire sculpting for masquerade has grown in recent months, with multiple cultural organizations partnering to host skill-building workshops earlier this year. Pinelands Creative Workshop joined forces with the NCF, Caribbean Yard Campus and the Maria Holder Trust to organize a wire sculpting workshop designed to pass the traditional craft to a new generation of artists after years of declining practice.

    Grant points to Brazil’s world-famous Carnival as a model for how cultural festivals can balance entertainment with intentional heritage celebration. In Brazilian Carnival, large parade floats and costumes prominently feature indigenous and African spiritual traditions, embedding core cultural identities into every aspect of the celebration. Grant says Crop Over can follow a similar path by centering emancipation and Black heritage in its largest, most visible costume pieces.

    Despite the enthusiasm around the craft’s revival, Grant acknowledges that significant barriers remain. The high cost of designing and constructing large wire-bent costumes has long been a major obstacle for mas bands, and was the primary reason the art form declined in Crop Over for decades. He recalled that the late legendary master wire-bender Gwyneth Squires repeatedly raised concerns about the prohibitive costs of the craft during her career. To overcome this barrier, Grant says targeted investment and funding support are needed to help bands take on large-scale projects. If funding can be secured, he argues the revived costume tradition can become a core vehicle for sharing emancipation narratives with new generations.

    In addition to encouraging bands to adopt these themes, Grant has proposed a structural change to festival judging: integrating historical and cultural storytelling criteria into the annual band competition. This would incentivize bands to prioritize meaningful narratives that connect Crop Over to its cultural and historical roots, rather than focusing solely on visual spectacle.

  • A Cultural Renaissance Demanded: Planning Antigua’s Carnival 70 in 2027

    A Cultural Renaissance Demanded: Planning Antigua’s Carnival 70 in 2027

    After nearly seven decades of bringing summer energy to the Caribbean, Antigua & Barbuda’s iconic Carnival stands at a critical turning point ahead of its landmark 70th anniversary in 2027. In a proposal opening public conversation about the festival’s future, Cabinet Minister E.P. Chet Greene has sounded the alarm over a growing identity crisis: what the event has long billed as “the Caribbean’s Greatest Summer Festival” is at risk of losing its unique cultural roots to become just another generic copy of carnivals held across the region.

    At the heart of this concern is the steep decline of locally produced cultural content and the near-disappearance of Benna, Antigua’s indigenous folk music with deep historical ties to the nation’s identity. Born out of the emancipation of enslaved people in the 1830s, Benna is far more than a musical style for Antiguans. Developed as a subversive call-and-response form, it served as a critical tool of oral communication for newly freed people, weaving the story of their liberation and community into its rhythms. Today, however, this foundational musical tradition has been pushed to the margins, reduced to nostalgic cultural artifacts while imported musical genres dominate the Carnival’s main stages. While Greene acknowledges the widespread global popularity of Soca music, he stresses that the nation cannot afford to trade its irreplaceable cultural identity for short-term mainstream popularity.

    Against this backdrop, Greene is calling for the 70th anniversary celebrations to mark the start of a full Benna renaissance that puts the indigenous genre back at the center of Carnival. No other region can claim Benna’s distinct characteristics: its bawdy, community-focused gossip-driven lyrics and spontaneous rhythmic improvisation create an authentic Carnival identity that cannot be replicated anywhere else in the world. To bring this vision to life, Benna must be made a central component of Carnival’s music competitions, integrated into traditional steelband arrangements, and required to feature in every major official Carnival production.

    Beyond programming changes, the proposed renaissance relies on structural and economic investments to sustain Benna’s growth for generations. Greene outlines a plan to formalize creative industry supply chains, monetize Benna artists’ intellectual property through standardized licensing agreements, and leverage global digital streaming platforms to introduce the genre to new international audiences — all scaled to fit Antigua & Barbuda’s unique economic context. The creative and performing arts sectors, he argues, need targeted, scaled-up public and private investments and incentives tied to measurable cultural outcomes, rather than one-off token gestures.

    To restructure the festival’s opening to align with this new vision, Greene proposes adjusting the event calendar to clear space for an expanded T-Shirt Mas celebration the following Saturday. This iteration of the popular event would prioritize shirts designed and manufactured locally, supporting Antigua’s domestic garment and creative industries rather than relying on imported goods.

    Greene also sets a non-negotiable expectation for DJs playing the 2027 Carnival: all artists must center the local ownership agenda, creating original mixes that highlight the 70-year evolution of both Benna and homegrown Antiguan Soca, rather than sidelining indigenous sounds for imported hits. He emphasizes that the core mission of Carnival — a celebration of Antigua’s hard-won freedom — must remain the central theme of all celebrations, even amid external pressures that erode cultural identity.

    Already, the Antiguan government has laid critical infrastructure groundwork for this transition: a $25 million state-of-the-art Performing Arts Center is in development, alongside plans for a world-class professional music studio to support local artists. But infrastructure alone is not enough, Greene notes: without targeted training and mentorship, world-class facilities will fail to deliver long-term change. To fill this gap, he proposes building formal mentorship programs modeled on UNESCO’s Business Angels initiative, paired with accessible financing through the government’s existing Entrepreneurial Development Fund to support emerging Benna artists and creative entrepreneurs.

    Greene stresses that Antigua’s Carnival can only remain competitive in a crowded global cultural tourism market by leaning into its unique advantages: quality, authenticity, and innovative storytelling rooted in local history, rather than competing purely on the size of the event or the volume of attendees. The 70th anniversary in 2027, he argues, is a once-in-a-generation opportunity to ignite a cultural renaissance that showcases Antigua & Barbuda’s national identity, its historical journey from emancipation to sovereignty, and its unwavering commitment to the freedoms its people built. This proposal is not intended to be a final, exhaustive plan, but rather the starting point for a broad public conversation to put actionable plans in motion for the milestone 2027 celebrations.

    Greene calls on stakeholders across government, the creative sector, and the general public to join the conversation and seize the moment to secure Carnival’s cultural legacy for future decades.

  • The bubble is broken: time to talk about real funding for Dominican literature

    The bubble is broken: time to talk about real funding for Dominican literature

    For years, stakeholders across the Dominican literary community have reflected on the trajectory of the nation’s literary landscape. This ongoing conversation is deeply rooted in shared responsibility that binds together communities, industry players, creative enterprises, and the collective of allies who have long worked to elevate Dominican storytelling.

    Just days ago, Roxanna Marte, Dominican fiction writer, professor, cultural strategist and director of the literary collective CuentaRD, shared a landmark observation on her Instagram: the insulating bubble that long surrounded Dominican literature has finally popped. The shift happened far more rapidly than even the most optimistic community leaders once anticipated, driven by the collective talent, passionate commitment, and shared sense of purpose that unites hundreds of creators and cultural organizers across the country.

    This breakthrough, however, does not mean the work is finished, nor that the sector can afford to step back and relax. Substantial, systemic challenges remain, and ignoring them will not make them disappear. In a previous analysis, Marte outlined three core pillars that require intentional investment to grow Dominican literature: nurturing emerging creative talent, securing sustainable long-term funding, and building robust organizational infrastructure to support cultural expansion – what she terms “organizational know-how.”

    Until now, one critical underpinning of this progress has gone undiscussed: the dynamic, unyielding leadership that has driven the entire movement forward. Marte emphasizes that the Dominican private sector has delivered extraordinary results, setting a new benchmark for innovative cultural management not just for the Dominican Republic, but across the entire Caribbean. Private cultural leaders have openly and unapologetically upended outdated, stagnant systems that long held local literature back.

    The bubble was burst by sheer grit and relentless effort, fueled by the unconditional commitment of these cultural leaders, who work tirelessly to bring Dominican storytelling to new audiences, no matter the personal or professional cost. Reaching this milestone brings a quiet sense of relief and well-earned pride – a moment to pause and celebrate after years of grueling work. With the bubble broken, there are no more excuses for failing to reform a system that remains in flux. The momentum of this movement cannot be stopped, because the community has already mastered the most critical component of long-term success: the human element. Through every challenge and every win, literature remains a non-negotiable national priority, and cultural management is driven by a deep passion to create lasting, meaningful experiences that resonate with audiences at home and abroad.

    Looking ahead, two major structural challenges still demand urgent, collective attention. First, the sector continues to lack cohesive, functional organizational foundations that cut across individual projects, cultural institutions, and both public and private cultural governing bodies. Second, consistent, sufficient funding – the backbone of any real, lasting change in the cultural sector – remains out of reach for most projects.

    As observed across the community in recent months, gaps in structured cultural management and organizational infrastructure persist across the sector. These gaps include a lack of direct financial investment, poorly defined leadership teams, inadequate professional training for cultural workers, and insufficient, consistent support from public cultural institutions. Importantly, Marte notes that public entities cannot be expected to bear the entire financial burden of sustaining the literary sector; backing long-term cultural projects carries significant inherent financial risk that no single actor can absorb alone.

    To prevent cultural work from becoming an unsustainable burden for creators and organizers, the sector needs dedicated, tangible resources. For any project director, it is nearly impossible to deliver a consistent, high-quality cultural experience when leading an unfunded private initiative. Targeted funding must be allocated to promising projects, and every viable proposal deserves rigorous evaluation, given the immense public value that a thriving literary sector brings to the entire Dominican nation.

    Securing consistent funding is a skill many cultural managers are still developing, and Marte points out that the priorities of funding institutions often remain opaque to creators and organizers. What the sector needs now, she argues, is open, structured dialogue between public and private stakeholders to address the current gaps in the system. No single actor can build a thriving, inclusive literary ecosystem alone – this is especially true in the Caribbean, where economic and social conditions are notoriously unstable, variable, and unpredictable. The private sector holds a shared responsibility to advocate for progressive public cultural policies and support targeted programs that can transform the Dominican literary landscape for the better.

    This open, collaborative dialogue is the first step toward building the thriving ecosystem that cultural leaders have envisioned for decades. Already, the collective willingness to see these projects succeed is stronger than ever, and more tangible than at any point in the nation’s history. Never before has Dominican literature sparked such widespread conversation across social media platforms, local book clubs, publisher marketing campaigns, and international co-publishing projects. More Dominican authors are breaking into global foreign markets than ever before, and the sector currently holds a level of international visibility that was unthinkable just a generation ago – even as work continues to build out the structural foundations of the movement.

    The bubble that long isolated Dominican literature from the world is broken, but extensive work remains to be done in the new, open space that has emerged. This work will require constant exploration, adaptive learning, intentional adjustment, and ongoing renewal until the sector is fully consolidated, accessible, and sustainable for all Dominican society.

    Marte extends an open invitation to all stakeholders – over a fresh cup of Dominican coffee – to pause, reflect on the progress the community has already made, and welcome new partners to join the work being built with such dedication across the country. The path to long-term success will never be forged by one group working alone. Real, lasting success is only possible when we work together, honoring every voice in the movement.

  • Asa Bantan’s 10th annual Summer Daybreak Breakfast Fete set to mark milestone weekend in Grand Bay

    Asa Bantan’s 10th annual Summer Daybreak Breakfast Fete set to mark milestone weekend in Grand Bay

    One of Dominica’s most beloved summer entertainment traditions is preparing to mark a major milestone this August, as Asa Bantan’s Summer Daybreak Breakfast Fete returns to Grand Bay to celebrate a full decade of cultural celebration, community connection, and Caribbean fun. What began 10 years ago as a single local gathering has evolved into a cornerstone of the island nation’s summer events calendar, and for its 10th anniversary, organizers have expanded the celebration into a full four-day lineup packed with performances, cultural experiences, and cross-regional gatherings that draw attendees from across the Caribbean and the Dominican diaspora worldwide.

    Backed by the Government of Dominica through the Ministry of Tourism and the Discover Dominica Authority (DDA), the 2026 anniversary edition is expected to deliver far-reaching economic benefits beyond just entertainment. Organizers project the weekend event will boost revenue for local microbusinesses and community stakeholders, including hotels, independent guesthouses, family-owned restaurants, neighborhood bars, local transportation providers, and street vendors across Grand Bay and its surrounding areas. This aligns with the island’s broader tourism strategy to drive summer travel and distribute economic opportunity across local communities.

    Reflecting on the event’s 10-year growth trajectory, DDA Chief Executive Officer and Director of Tourism Marva Williams emphasized the critical role community-led festivals play in strengthening Dominica’s global tourism profile. “Festivals and events continue to play an important role in strengthening Dominica’s tourism offering by encouraging travel during the summer season and creating opportunities for businesses and communities,” Williams said. “The continued growth of Summer Daybreak Breakfast Fete over the past decade reflects the value of investing in local events that attract regional visitors, support entrepreneurs and encourage more visitors to choose Dominica during the summer season.”

    For event founder Asa Bantan, reaching the 10-year milestone is a point of deep collective pride. “Celebrating 10 years of Breakfast Fete is a proud moment for all of us,” he shared. “I am grateful to everyone who has supported the event over the years, and my team and I are looking forward to welcoming returning patrons and first-time visitors to Grandbay for this special anniversary weekend.” To mark the anniversary, organizers have asked all attendees to wear red, the official celebratory color for this year’s edition.

    The full four-day schedule of festivities kicks off on the evening of Friday, August 7, with a vibrant Lighting Parade that travels from the Grand Bay Community Centre to Lalay, running from 7:00 PM to 1:00 AM. The opening night will feature live sets from TK International, Asa Bantan himself, and DJ Shil, with a paid beverage package available for attendees.

    The momentum continues straight into the early hours of Saturday, with the Pre-Breakfast Fete Party hosted at Hyland in Grand Bay from 1:00 AM to 7:00 AM. The weekend’s iconic signature event, the 10th Annual Summer Daybreak Breakfast Fete, will take place on Sunday, August 9, from 1:00 AM to 11:00 AM on Grand Bay’s Savannah. Dubbed “The People’s Fete,” this year’s marquee event boasts a stacked lineup of more than a dozen performers from across the Caribbean and beyond, including headline Jamaican dancehall artiste Valiant, alongside Dominican acts Asa Bantan, Trilla G, Jixel, Gwada G, Kenny G, BRG Hollywood, Reo Ok Boom, Eddy, Little Boy, Lestef KJF, Pudaz, Freddy, Fifin & Wotlis, Faithii, and Devon, plus international guests King Kembé of St. Maarten, and Strosey and SMS of Guadeloupe. Attendees can choose from three experience tiers: Dry Zone, Wet Zone, and premium VIP access.

    Sunday evening brings a laid-back wrap-up to the main fete activities with the Breakfast Fete Cool Off at Hyland, running from 9:00 PM to 2:00 AM, with a soundtrack spanning the best of bouyon, soca, reggae, and dancehall. The anniversary celebration concludes on Monday, August 10, with an Island Tour and Wet Fete Finale. The guided tour departs from Roseau, makes scenic stops in Massacre, St. Joseph, and Mero, before returning to Grand Bay for the closing celebration.

    The DDA is encouraging all interested attendees to purchase tickets early to secure their spot, and is urging out-of-town visitors to extend their stay to explore Dominica’s full range of natural attractions, local dining, and hospitality offerings while on island. Real-time updates on the event, including schedule changes and additional announcements, are posted to the official Asa Bantan and Dominica Festivals social media accounts on Facebook and Instagram.

  • Full Results Released for Antigua Carnival 2026

    Full Results Released for Antigua Carnival 2026

    One of the Caribbean’s most anticipated annual cultural celebrations, Antigua Carnival 2026 wrapped up its vibrant multi-day program with an official awards ceremony that crowned this year’s standout competitors, capping off weeks of parades, live music, and community celebration.

    Leading the pack of award winners was Sechuns The Band, which secured the festival’s most prestigious distinction: Band of the Year. The ensemble turned in a dominant performance across the signature two-day parade schedule, earning first place in the Carnival Tuesday Large Band Category and finishing as first runner-up in the Carnival Monday Large Band Category to seal its overall top ranking.

    Other leading bands turned in impressive showings to round out the overall standings. Insane Carnival notched a first-place win in the popular T-Shirt Mas competition and claimed the first runner-up spot for overall Band of the Year. Myst Carnival, which took home the top title for Carnival Monday Large Band, secured second place in the overall Band of the Year rankings.

    In the festival’s highly competitive music category, artist Ballo’s hit track “Bang E Line” claimed the 2026 Road March title, a honor awarded based on how frequently the song is played throughout the festival’s street parades. The popular soca track was played 101 times across carnival events, beating out the closest competition by a comfortable margin. Soca Villan and Island Prince’s collaboration “Gyal Sidung” finished as first runner-up with 89 total plays, while Dan Knowledge’s “Shake It Off” took third place with 74 plays.

    Awards were also distributed across the festival’s iconic J’ouvert segment, the early-morning street celebration that kicks off the carnival’s main events. Liberta Black Thing earned the honor of First Band on the Road, while Caution was named Largest Band on the Road. High Voltage claimed the title of First Jam Band on the Road, and Revo Band took home the distinction of Sweetest Jam Band. In the Best J’ouvert Troupe competition, ChattaBox Company Ltd. took top honors, followed by Flava FM One Caribbean in second and Brewmasters J’ouvert Troupe in third.

    In smaller band categories, RT Performers Cultural Entertainment earned the Carnival Tuesday Small Band title, with Bachannal Carnival placing second and WACC Mas third. For festival floats, the Central Board of Health claimed first place, the Ministry of Agriculture, Lands and Fisheries took first runner-up, and the Chinese Association finished as second runner-up.

  • Minister Evelyn thanks stakeholders for making Culturama 52 a resounding success

    Minister Evelyn thanks stakeholders for making Culturama 52 a resounding success

    After nearly two weeks of vibrant cultural celebration across the Caribbean island of Nevis, the 52nd edition of the annual Culturama festival has wrapped up to widespread acclaim, with top government officials and event organizers praising the event as the most successful in recent years.

    Held from July 23 to August 4 under the official theme “Our Heritage Proud and True: It’s Culturama 52”, the annual festival is Nevis’ flagship cultural event, designed to showcase and preserve local Caribbean heritage, music, performance, and artistic traditions. In an official statement released August 6 by the Nevis Island Administration (NIA), Deputy Premier and Minister of Culture Eric Evelyn extended deep gratitude to every person and group that contributed to the festival’s 2026 staging, calling the edition a resounding, transformative success.

    “From my perspective, Culturama 52 has truly been a tremendous success. Almost every event featured extraordinary production quality, and we saw strong, consistent attendance across all shows,” Evelyn said. “Over the past several years, we have worked to improve event timeliness, operational management, and attendee experience, and those efforts have clearly paid off this year. I am incredibly pleased with how everything came together, and I owe a huge thank you to every single person who helped turn C52 into the success it is today.”

    Evelyn went on to extend special congratulations to competitors who took home top honors across the festival’s dozens of competitions, pageants, and performance events, while also thanking every participant, regardless of outcome, for their contribution. “Without competitors willing to put themselves forward and share their talent, we could never have a successful Culturama. Every participant helped make these events what they are, and I am grateful to every single one.”

    Beyond competitors, the Minister thanked the Culturama Committee, volunteer teams, local vendors, event sponsors, street revellers, and attending patrons for their collective work. He specifically highlighted that the 2026 festival saw remarkably few incidents or accidents, crediting the good behavior of attendees for creating a safe, welcoming, and enjoyable environment for all participants and visitors.

    The Culturama Committee echoed Evelyn’s praise, releasing its own statement recognizing the hundreds of individuals and organizations that contributed to the festival’s success. The committee highlighted the energy and creativity of performance troupes, marching bands, and masqueraders who transformed the streets of downtown Charlestown into a vivid showcase of Nevisian cultural pride, adding that designers, volunteer workers, sponsors, artists, and local residents all played critical roles in making events like the Street Parade and Grand Parade unforgettable experiences.

    A wide range of competitors took home top honors across the festival’s core competitions. Mia Alexander, sponsored by the Caribbean Lottery, claimed the 2026 Bank of Nevis Miss Culture Queen title, while performer Kairo won the TDC Senior Kaiso Monarch crown. Adowah secured a back-to-back victory as National Bank Groovy Soca Monarch, and the team of Ras Brown and Rocco Dan took the title in the National Bank Power Soca Monarch competition. Additional major winners included Mighty Zen as Junior Kaiso Monarch, Oualie Rhythms Steel Orchestra for the National Bank Panorama competition, Kadijah Mulley as National Bank Miss Culture Swimwear 2026, and Devaughn Browne as National Bank Mr. Kool 2026. Porsha Precious Perkins and Keznambi Archibald of Charlestown Primary School won the Republic Bank Mr. & Miss Talented Youth Pageant, while Zaine Frederick of Antigua and Barbuda took home the crown of Bank of Nevis Miss Caribbean Culture Queen 2026.

    In the festival’s popular Street Parade competition, category honors went to David Dynasty in Folklore, Back in De Good Ole Days in Ole Mas, U 2 Young 2 Know Bout Dis in the Float category, and Four Seasons Whisper of Oualie in the Fantasy category. The festival officially came to a close when DVX Reloaded was named the 2026 Road March Champion for their hit track “Sugar Daddy”, closing out two weeks of celebration of Nevis’ rich cultural, musical, and traditional heritage.

  • Leisure : Did you know ? #48

    Leisure : Did you know ? #48

    As of August 6, 2026, HaitiLibre’s popular twice-weekly general knowledge quiz segment “Did You Know?” has dropped its 48th installment, shining a spotlight on one of Haiti’s most influential global cultural ambassadors—hip-hop legend and former Fugees member Wyclef Jean.

    Born in Croix-des-Bouquets, Haiti, Jean moved to the United States with his family when he was just 9 years old, settling first in New York before relocating to New Jersey, where he cut his teeth in the emerging 1990s hip-hop scene. Alongside bandmates Lauryn Hill and Pras Michel, Jean co-founded the trailblazing hip-hop group The Fugees, which catapulted to global stardom with genre-defining hits that sold millions of albums worldwide and cemented their place in music history.

    Following the group’s success, Jean built a prolific solo career, where he has consistently used his platform to center and celebrate Haitian culture. Unlike many mainstream global artists, he seamlessly weaves Creole lyrics and traditional Haitian rhythmic patterns into his chart-topping tracks, introducing millions of listeners around the world to the richness of his Haitian roots.

    Beyond his musical achievements, Jean is a dedicated philanthropist focused on supporting his home country. He founded the Yéle Haiti Foundation, which delivers critical emergency humanitarian aid to Haitian communities and expands access to educational opportunities across the nation. His life story stands as a powerful example of the Haitian diaspora’s impact: achieving global success in the entertainment industry while remaining deeply rooted in and committed to his cultural homeland.

    This feature is just one of hundreds of free, no-registration knowledge games hosted on HaitiLibre’s quiz platform, which caters to learners of all ages and skill levels. As part of the platform’s monthly content update, 30 brand-new quiz games were added on August 1, 2026, pushing the total number of available quizzes past the 200 mark to 210 unique games. New content is added every single month to keep the platform fresh for returning users.

    Each quiz on the platform comes in three tailored difficulty levels: easy, intermediate, and hard, and all content is available in both French and English to serve a broad audience. Users can explore the full collection of quizzes covering topics from Haitian history and culture to global general knowledge at https://quiz.haitilibre.com/en. The platform encourages visitors to share their favorite quizzes with friends and family and leave feedback via a comment form attached to every game, turning casual quizzing into a shared learning experience.