Carib Scope

分类： entertainment

  • SCENT-SATIONAL! Jamaican model Dru Campbell in new Loewe fragrance campaign

    SCENT-SATIONAL! Jamaican model Dru Campbell in new Loewe fragrance campaign

    Two years after making her runway debut, Jamaican modeling star Dru Campbell has hit another career milestone, landing her first global fragrance campaign with iconic Spanish luxury fashion brand Loewe. The 19-year-old, who is signed to talent agency SAINT International, is the latest face of Loewe’s Spring 2026 Landscape fragrance collection, marking her third major global advertising campaign following high-profile gigs with Dior and Alexander McQueen in 2024.

    Raised in Clarendon’s Belmont District, Campbell opened up about her excitement over the new role in an interview with Observer Online, saying the opportunity to lead a major fragrance campaign as an international model feels like an incredible career achievement. “It feels amazing having my first fragrance campaign as an international model, and it will be good for my career moving forward. I hope it will not be my last,” she shared.

    Shot against the dramatic natural backdrop of the Canary Islands back in February, the full campaign blends still photography from lensman Peter Jordanov and moving footage from videographer Marc Dimitrov. The collection’s concept draws on the diverse, rugged terrain of Spain — from rolling fertile plains to jagged mountain ranges and stark mineral landforms — to reflect the distinct botanical roots of the collection’s six individual perfumes. For Campbell’s part, she features as the face of Loewe’s Solo Ella Elixir fragrance, captured in soft, golden light as the sun rises over the horizon.

    The rising model recalled the shoot as a joyful, collaborative creative experience, noting her longstanding professional connection to the luxury brand. “It was a super-fun shoot with Marc and Peter. Getting into character to portray the vision they had made for an exciting day,” she said. Campbell has already walked in Loewe’s runway presentations four times during Paris Fashion Week, and counts the brand among her favorite industry partners. “Ashley Brokaw and her casting team have always been supportive and I am grateful for that,” she added.

    Founded in 1846 by a collective of Spanish artisans, Loewe has grown into one of the world’s most respected luxury labels, celebrated globally for its premium leather goods, high-end ready-to-wear lines and coveted accessories. This new campaign adds to Campbell’s rapidly growing list of career wins: last year, she co-starred in Dior’s pre-fall 2025 womenswear collection campaign, shot on location in Japan, and also featured in Alexander McQueen’s Autumn/Winter pre-collection campaign.

    Currently ranked among the world’s top 50 models by leading industry resource models.com, Campbell’s rapid ascent has drawn widespread praise from her team at SAINT International. Deiwght Peters, CEO of SAINT International who has guided Campbell’s career from its earliest stages, says the new Loewe campaign is a direct result of the young model’s consistent effort and dedication.

    “Dru has been an exceptionally driven, focused model since she launched on the Prada runway at Milan Fashion Week only two years ago,” Peters explained. “She’s built a solid reputation in the industry for her disposition, charm, and strong looks. She’s barely touched the tip of the greatness that awaits her.”

  • Stacey Mirander inspires students at Clarendon College Easter Brunch

    Stacey Mirander inspires students at Clarendon College Easter Brunch

    Renowned fusion reggae artist Stacey Mirander recently stepped back into the halls of her Jamaican alma mater, Clarendon College, taking on a heartfelt new role as guest speaker for the institution’s celebratory Easter Brunch welcoming its incoming cohort of first-form students. The memorable occasion, designed to ease the transition for new learners and build school morale, was carefully curated with elegant decor, thoughtfully plated meals, and an indulgent spread of homemade desserts. Dressed in their most polished formal attire — with several students showcasing self-crafted outfits that highlighted their creativity — the first-formers embraced the stately, celebratory tone of the afternoon.

    Beyond sharing words of wisdom with the incoming class, Mirander treated the audience to a live musical performance, opening with two of her original compositions: *People Don’t Care* and *Have A Little Faith*. Both tracks carry deeply resonant lyrical themes centered on resilience, unwavering self-belief, and intentional purpose, messages crafted specifically to resonate with the young students navigating a new educational chapter. She then capped off her set with an impromptu, crowd-pleasing collaboration on Bob Marley’s iconic *Three Little Birds*, joining forces with Clarendon College’s talented student-led school band that had the entire venue singing along.

    For the artist, the homecoming triggered a flood of warm nostalgia, as she saw her own younger self reflected in the shy, curious expressions of the new first-formers. “It was like I never left,” Mirander shared, recalling her own first day on campus decades earlier. “I remembered walking up to Stuart Hall for the first time, how massive it felt, how small and out of place I was, surrounded by strangers I’d never met. Looking at these new students, that same quiet, pensive, uncertain energy was right there — it pulled me right back to that moment.”

    This appearance is far from Mirander’s first engagement with her alma mater. As a proud graduate, she has maintained deep ties to the Clarendon College community, regularly supporting student and staff initiatives ranging from annual Teacher Appreciation Day events to back-to-school outreach programs for low-income students. Her consistent involvement stems from a long-held commitment to youth mentorship and local community development.

    Notably, this marked Mirander’s first live performance on Jamaican soil, an experience she described as warm and effortless, with a gentle breeze drifting through the event space and a relaxed, joyful vibe filling the room. She opened her interaction with the new students by breaking the ice, asking casual questions about their first impressions to put them at ease, and watched quickly as nervous smiles gave way to open, enthusiastic interaction before she began her performance.

    The event drew a roster of distinguished guests, including fellow alumna Dr. Melissa Marballie of The Family Wound Care, who donated custom prizes for student engagement activities, and prominent community philanthropist Dr. Joseph Wilson, a long-time supporter of local youth education initiatives. Mirander extended public gratitude to Clarendon College Principal David Wilson, event organizer Shirleen Jackson, school music teacher Wenbert Thomas, the student band, and the entire campus body for their work bringing the day together.

    She praised Jackson’s vision for the event, noting it was created specifically to give incoming students a morale boost and a reminder that their future holds exciting possibilities. “It was a gesture to give the students something to look forward to,” Mirander explained, adding that the energy and engagement from the cohort made the day a clear success. The artist also commended Clarendon College’s ongoing commitment to holistic student development, prioritizing events that nurture excellence, creativity, and collective community spirit alongside academic learning. “We need more events like these,” she emphasized.

  • Arthur Daniel to represent Grenada at La Biennale d’Arte di Venezia

    Arthur Daniel to represent Grenada at La Biennale d’Arte di Venezia

    One of Grenada’s most versatile creative voices is set to bring the vibrant soul and natural beauty of his Caribbean island to one of the world’s most prestigious contemporary art stages. Multidisciplinary artist Arthur Daniel—whose career spans photography, cinematography, entrepreneurship and music—has been selected to represent Grenada at the Grenada Pavilion during the La Biennale d’Arte di Venezia in Italy, where he will unveil a carefully curated body of work born from a lifelong fascination with both his native homeland and the broader global landscape.

    Daniel’s distinctive visual style traces its roots to formative childhood experiences that shaped his connection to the natural world and the art of exploration. Growing up, frequent walking expeditions into Grenada’s wild bushlands with his father instilled a deep reverence for nature that continues to anchor every project he takes on. This influence is clearly visible across his portfolio: his striking wildlife shots capture the character of native species ranging from the charismatic Mona monkey to the critically endangered endemic Grenada Dove, while his vivid documentation of Grenada’s iconic carnival and grassroots drag racing events celebrates the island’s dynamic cultural energy. His sweeping landscape photographs do more than showcase scenic vistas—they distill the unyielding spirit of Grenada itself, a testament to his enduring love for his home.

    A graduate in Management Information Sciences from St. George’s University, Daniel built early professional experience in public relations with Grenada’s True Blue Bay Resort before turning his full attention to visual art. He first picked up a camera in 2010, and in the years since, his work has earned international acclaim: his images have appeared in leading global publications and have been officially used by the Grenada Tourism Authority to promote the island to travelers worldwide. What sets Daniel apart is his commitment to unconventional perspective; he actively seeks out overlooked angles and unplanned moments that invite audiences to see even the most familiar Grenadian landscapes in entirely new ways.

    His foray into sailing photography began with local coverage of two beloved regional events: the Workboat Regatta and Grenada Sailing Week. That early work opened doors to international collaborations, including a role with the Royal Ocean Racing Club’s media team covering the Caribbean 600 yacht race in Antigua. Today, his sailing imagery is regularly featured in top yachting print and digital outlets across the globe.

    Fresh off a successful featured exhibition at Carifesta 2025, Daniel is approaching his Venice Biennale debut with palpable excitement, eager to share his vision of Grenada with a global audience on one of contemporary art’s most high-profile platforms. “I am starting to learn more about this creative space,” he shared, noting that this is not his first contribution to the Grenada Pavilion—he previously contributed a video interview with his sister, environmental scientist Dr. Jodi Daniel, centered on the growing challenge of sargassum blooms in Caribbean waters.

    In recent days, Daniel and his small creative team—made up of camera and drone operator Renel Parkes and audio technician Andre Hayes—have begun filming the first segment of a new collaborative video project for the pavilion. The first part of the film captures Grenada-born independent artist Jeverson Ramirez performing on the steelpan aboard Savvy, an authentic hand-built sloop from Petite Martinique moored just off Grenada’s Carenage, with vessel handling supported by Danny Donelan and Brian Samuel. The second segment will be filmed on location in Venice, where Ramirez will reprise his performance aboard a traditional Venetian sandolo sailing through the city’s iconic canals.

    This blend of on-island and international filming aligns with Daniel’s signature creative approach: equal parts research and spontaneous art, he prioritizes staying open to everyday inspiration and crafting stories that resonate with universal human experience. When the Grenada Pavilion opens to visitors, Daniel’s combined video work and curated photography from both Grenada and Venice will not only draw attention to the national presentation but also introduce new global audiences to the rich, diverse cultural heritage of the Caribbean island.

    This 2025 presentation marks the ninth time Grenada has hosted a national pavilion at the Venice Biennale since 2015, with six previous appearances at the art biennale and three at the architecture edition of the event, cementing the country’s growing presence in the global contemporary art scene.

  • Dominican music shines at gala in Panama City

    Dominican music shines at gala in Panama City

    Panama City, Panama – The beating rhythms of Dominican culture echoed through the Herbert De Castro auditorium this week, as a star-studded musical gala launched the highly anticipated Dominican Week in Panama 2026. The sold-out event turned the iconic venue into a dynamic crossroads of Caribbean and Central American culture, bringing two neighboring nations with deep shared historical ties closer together through the universal language of music.

    Headlining the evening was a one-of-a-kind collaborative performance by the National Symphony Orchestra of Panama, under the regular direction of renowned local conductor Ricardo Risco Cortez. Adding an authentic Dominican creative vision to the production, celebrated Dominican maestro Amaury Sánchez stepped in as guest conductor, infusing every piece with the distinctive emotional warmth and rhythmic nuance that defines Dominican musical heritage. Audiences and critics alike praised Sánchez’s interpretation, noting his ability to highlight the cultural specificity of each work while connecting it to broader musical traditions that resonate across borders.

    The carefully curated concert program took attendees on a chronological and thematic journey through more than a century of Dominican composition. It wove together time-honored folkloric melodies rooted in the country’s mixed African, European, and Indigenous heritage with beloved 20th and 21st century popular classics that have shaped modern Dominican identity. Featured works included compositions from legendary Dominican figures Julio Alberto Hernández, Juan Lockward, Ñico Lora, and Luis Alberti, before building to a rousing closing performance of Juan Luis Guerra’s globally iconic hit Bilirrubina. By the final note, the entire audience was on its feet, cheering for multiple encores and celebrating the energy of the performance.

    Diplomatic representatives from both the Dominican Republic and Panama were in attendance, including Dominican ambassador to Panama Roberto Salcedo. In opening remarks ahead of the performance, Salcedo emphasized that cultural exchanges like Dominican Week are far more than artistic celebrations—they serve as critical people-to-people bridges that reinforce political and economic ties between the two countries. Organizers echoed this sentiment, noting that the 2026 iteration of the annual event aims to expand awareness of Dominican cultural heritage across Central America, while creating new opportunities for artistic collaboration between creators from both nations in the years ahead.

  • BIFF Launches Search for Belizean Screenwriting Talent

    BIFF Launches Search for Belizean Screenwriting Talent

    Scheduled for launch in 2026, the Belize International Film Festival (BIFF) has opened an exciting new search to uncover hidden screenwriting talent from the Belizean community, both within the country and among diaspora creators around the globe. The initiative aims to elevate authentic Belizean storytelling that centers the nation’s one-of-a-kind landscapes, rich cultural heritage, and diverse local voices that have long defined life across the country.

    Unlike generic screenwriting competitions that accept all story themes and origins, this search specifically calls for short screenplays rooted in Belizean experience. Creators are invited to craft narratives set against any of the nation’s iconic backdrops – from the rolling, forested slopes of Sleeping Giant near The Banks Resort to the sun-warmed, palm-lined coasts of Jaguar Reef in the seaside village of Hopkins. BIFF organizers emphasize they are open to all genres and bold, original creative visions, encouraging storytellers to take risks and share perspectives that have not often been centered in mainstream film.

    Beyond the opportunity to showcase Belizean creativity to a global audience, the competition comes with tangible rewards to help creators turn their written ideas into finished screen projects. The grand prize winner will receive an immediate cash award of $500 USD, with an additional option for a $500 USD film rights buyout that puts further financial support in the creator’s pocket. As an extra perk to support production, the winner will also receive a complimentary one-night stay at a local resort during their film shoot, removing a small but meaningful barrier for creators working to bring their stories to life on screen.

    This search marks BIFF’s ongoing commitment to nurturing emerging local creative talent and building a sustainable, homegrown film industry in Belize. By investing directly in screenwriters – the foundational creators of any film project – the festival aims to build a pipeline of original Belizean stories that can reach audiences far beyond the nation’s borders.

  • New calypso tent to spotlight young talent this Crop Over

    New calypso tent to spotlight young talent this Crop Over

    As Barbados prepares for its iconic annual Crop Over cultural celebration, a groundbreaking new calypso initiative centered entirely on elevating the next generation of musical talent is stepping into the spotlight. Founded and led by managing director Randy Eastmond, Rhythms of Legacy was formally introduced to the public this Thursday, built to serve as both a dynamic performance venue and a nurturing developmental hub for emerging Barbadian calypso artists.

    In an exclusive interview with Barbados TODAY, Eastmond laid out the dual purpose of the new venture: the project will operate as a full-fledged traditional calypso tent for the Crop Over season, while also systematically preparing participating young performers for the island’s most prestigious national calypso competitions. “This is a full calypso tent production built specifically for this Crop Over season, and many of our participants will be competing in the National Cultural Foundation’s flagship events – Pic O De Crop and the Junior Monarch competition,” Eastmond explained. “With the recent announcement of the new Party Monarch competition, I have no doubt our young artists, who are always eager to embrace fresh opportunities, will be keen to join that as well.”

    Beyond preparing contestants for competitive events, Eastmond stressed that long-term artistic growth is the unshakable core mission of Rhythms of Legacy. He framed the initiative as a purpose-built “developmental incubator” that fills a longstanding gap in the local cultural ecosystem by giving young creators a dedicated space to evolve their craft. Aligning with its dual focus on heritage and innovation, the tent has adopted the theme “Honouring our Musical Roots with Today’s Vocal Fruits.”

    “We have collaborated with hundreds of young aspiring artists over the decades, and it became clear that there was a critical need for a dedicated platform for them during Crop Over,” Eastmond said. “Young people deserve their own stage to shine, their own space to call their own – a sanctuary where they can refine their skills, experiment creatively, and grow as artists. Development is not just a priority for this initiative; it is the entire foundation of what we are doing here.”

    The upcoming calypso season will see around 17 performers take the Rhythms of Legacy stage, with ages ranging from 13 to 35. The lineup includes both first-time artists trying calypso for the first time and more experienced young acts looking to advance their careers. Hands-on skills workshops are a central component of the program, designed specifically to give new performers the tools and confidence they need to succeed. Adding star power to the opening lineup, reigning Junior Calypso Monarch Mr. Showman will appear as a featured guest performer across the tent’s opening events.

    Rhythms of Legacy has planned two major public performance nights ahead of the official judging event later in the Crop Over calendar. The opening night is scheduled for June 4 at the Daphne Joseph Hackett Theatre, kicking off at 8 p.m., with a second showcase set for June 18. The official judging night, held in partnership with the National Cultural Foundation, will take place on July 19 at the UWI Big Tent.

    While competitive wins are a welcome outcome for participating artists, Eastmond emphasized that the initiative’s greatest goals go far beyond trophies and rankings. “Our focus is not on finishing position in competitions,” he noted. “What matters most is the work our artists put forward, the legacy they build through their music, and the messages they share with audiences. Each of them is hard at work writing lyrics that reflect what they see happening in our society right now – and as calypsonians, that is exactly their role: to serve as thoughtful social commentators for our time.”

  • Physical tickets for Reggae Sumfest now on sale

    Physical tickets for Reggae Sumfest now on sale

    One of the Caribbean’s most iconic cultural music events, Jamaica’s legendary Reggae Sumfest, has opened physical ticket sales for its 2026 iteration, marking the festival’s first-ever staging in the parish of St Ann. Organisers made the official announcement via a press release issued Friday, calling on excited fans to lock in their spots early for what is shaping up to be a landmark gathering for reggae and dancehall music lovers worldwide.

    Three tiers of tickets are currently available for purchase through authorised in-person outlets across Jamaica for A Taste of Reggae Sumfest 2026, tailored to fit different fan preferences and budgets. General Admission is priced at JMD $9,500, while mid-tier VIP access costs JMD $17,500, and top-tier VVIP packages are listed at JMD $32,000. Authorised physical sales points span the island, including multiple Fontana Pharmacy locations in Montego Bay, Barbican, Waterloo, Tropical Plaza, Sovereign Centre, Sovereign Village Portmore, Mandeville, and Ocho Rios, as well as Montego Bay’s popular Pier 1 and El Paso venues.

    Organisers have emphasised a strict no-gate-sales policy for the event, stressing that all attendees must secure their passes in advance through official channels to guarantee entry. A limited-edition UVIP package, which includes four entry tickets plus premium bottle service on an exclusive elevated viewing deck, will be released for sale in the near future. While a small number of private cabana experiences were offered to fans early, these premium offerings have already sold out entirely, a sign of the massive hype surrounding this year’s event.

    This 2026 festival will make history as the first edition of Reggae Sumfest, Jamaica’s foremost annual music celebration, to be hosted at St Ann’s renowned Plantation Cove, a scenic iconic venue expected to amplify the festival’s vibrant energy and deliver world-class entertainment to attendees.

    Much of the pre-event buzz stems from the announcement of the long-awaited Gully/Gaza showcase, a momentous cultural occasion rooted in decades of dancehall history. Headlined by genre-defining artists Vybz Kartel and Mavado, the showcase is framed as a powerful celebration of unity, legacy, and the unrivaled energy of Jamaican dancehall, expected to draw fans from across the globe to Plantation Cove.

    Alongside ticket sales updates, organisers have laid out timelines for official accreditation. Media professionals seeking press access can submit their accreditation applications between April 17 and April 27, 2026. For local and regional food vendors hoping to participate in the festival’s culinary offering, accreditation applications open on April 20 and close on April 30. Organisers noted they are working to curate a diverse, high-quality spread of food that highlights the rich, distinct flavors of Jamaican and Caribbean cuisine to complement the festival’s musical programming, encouraging interested vendors to submit their applications early.

    Fans can complete online ticket purchases and access all accreditation application forms through the official Reggae Sumfest website, reggaesumfest.com.

  • Chronic law chills pain with I.C.E EP

    Chronic law chills pain with I.C.E EP

    Jamaican dancehall artist Chronic Law, born Ackeme Jermaine Campbell, is preparing for a major career comeback after enduring 73 days of detention in a United States immigration facility earlier this year, turning one of the darkest chapters of his life into raw, purpose-driven creative work.

    The artist was taken into custody by U.S. Immigration and Customs Enforcement (ICE) in Florida on January 12, 2026, a development that sent immediate shockwaves through both the Caribbean music community and the global dancehall industry. For weeks after his detainment, rampant speculation spread across fan groups and industry circles, with many questioning the undisclosed circumstances that led to his arrest. That uncertainty shifted dramatically on March 26, when Chronic Law was released from custody without any formal charges filed against him.

    Instead of being pulled into public controversy or feeding the swirling speculation around his detainment, the artist has channeled the emotional, psychological, and spiritual weight of his experience into a new eight-track extended play (EP) titled I.C.E (Inside Cold & Empty), shaped by core themes of survival, unshakable faith, and deep personal introspection. Emerging from the ordeal with a renewed sense of artistic purpose, Chronic Law has centered the project on documenting his firsthand experience rather than dwelling on what happened.

    The project is a collaborative production with Grammy-winning producer NotNice, the head of Notnice Records, who opened up about the unusual, high-stakes creation process that unfolded while Chronic Law was still in detention. According to NotNice, the foundational work for the EP was completed before the artist ever regained his freedom.

    “From a production standpoint, the EP was already done before Chronic Law got out. While he was being detained, he and Bashy would connect on the phone every single day. Bashy would play the rhythm tracks over the line, and Chronic Law would write his lyrics right there from the detention center. All the beats were selected, and every song was fully written before he was released,” NotNice explained. “I originally came on to the project just to refine the existing beats and add my signature touch. But I ended up reworking some entire tracks, rebuilding beats from scratch, adding additional production layers to every track, and handling the final mixing and mastering for the full project.”

    I.C.E (Inside Cold & Empty) is a joint venture between Notnice Records, Collect Di Bread Entertainment, and 1Law, a strategic alignment between the labels designed to amplify both the sonic quality of the record and the depth of the personal narrative at its core. The full EP is scheduled for global release on April 24, 2026, with the lead single *Like Samson* set to drop a week earlier on April 17 via independent music distribution platform ONErpm. The upcoming release marks a defining turning point in Chronic Law’s career, forcing the artist into a level of vulnerability that has reshaped his creative output.

    Known for his deeply thoughtful lyrics and grounded, street-rooted storytelling that has earned him a loyal global fanbase, Chronic Law says the new project is a natural evolution of his signature style, born from a traumatic experience that pushed him to new creative depths. In comments about the work, he opened up about how the 73-day detention tested his faith and changed his perspective permanently.

    “Going through that 73-day detention made me even more aware, and at times, more guarded. Everybody had their own opinions and drew their own conclusions about what happened, but for me — someone who truly believes in God and believes fully in myself — it became a real test of my character and my faith,” Chronic Law said. “Through it all, I know God was by my side. I had to lean on Him completely, because without that faith things could’ve gone a completely different direction. Since being released, my relationship with God has grown so much deeper; I find myself having real, personal conversations with Him, venting more, just connecting on a whole different level than I ever did before.”

    The artist added that the EP carries a clear, uplifting message for listeners facing their own struggles: “I.C.E (Inside Cold & Empty) was written to show people that no matter the situation, the obstacles, or the fight you’re facing, you have to stay solid. You can’t lose faith. Believe in Christ, stand firm, and fight for your rights.”

  • Will it be Ciceron or Gros Islet? Carnival Queen Pageant rivalry heats up

    Will it be Ciceron or Gros Islet? Carnival Queen Pageant rivalry heats up

    The National Carnival Queen Pageant, one of Saint Lucia’s most anticipated annual cultural events, is gearing up for its 2024 installment, bringing with it all the beloved fanfare that has made it a staple of the island’s summer calendar. From fiery social media debates between supporter groups to tense sponsorship competition and the time-honored inter-regional rivalries that draw audiences year after year, this year’s iteration is on track to deliver all the excitement pageant fans have come to expect.

    Following a series of regional auditions, organizers have narrowed the field to nine finalists representing constituencies across the island: Ciceron (Castries South), Desruisseaux (Micoud South), Gros Islet, Mabouya Valley (Dennery North), Dennery South, and La Clery (Castries North). Castries South in fact boasts two finalists this year, Faith Edward and Sydney James, both hailing from the Ciceron community. Gros Islet is sending three delegates to the competition: Adel Montoute, Derrelle DuBois from Grande Riviere, and Simone Sonson from Reduit. The 2023 crown was claimed by Ermele Tisson, a contestant from Choiseul, who will pass on her title at the July 4 event.

    The pageant has already garnered playful public attention from two sitting members of parliament, who have opened up about their regional loyalties in lighthearted interviews ahead of the main event. While many local politicians typically avoid picking favorites to keep an air of neutrality, both MPs have been open about where their loyalties lie, much to the amusement of pageant followers.

    Dr Ernest Hilaire, Saint Lucia’s Minister for Tourism and Culture and the sitting MP for Castries South, spoke at the official sashing ceremony for contestants, noting that this year’s pageant has him more excited than he has been in any previous year. Joking with the audience, he quipped that his heightened anticipation had nothing to do with Castries South fielding two contestants from the Ciceron community, barely hiding his amusement as he made the tongue-in-cheek comment. Hilaire confirmed he will be in attendance at the July 4 finals to cheer for Edward and James, alongside all other competing delegates who he said he expects to deliver strong performances.

    Kenson Casimir, Minister for Education, Youth Development and Sports and MP for Gros Islet, which is sending three contestants to the competition, has a long history of providing financial support to local delegates, and confirmed he will extend that support equally to all three Gros Islet contestants this year, with no preferential treatment for any candidate.

    What makes Casimir’s support particularly notable is that one of his constituency’s delegates, Adel Montoute, is the daughter of Spider Montoute, Casimir’s former political opponent. When asked if he would favor Montoute less because of the family’s political history, Casimir was refreshingly honest. He told reporters he is openly rooting for a Gros Islet candidate to take the crown, and specifically said he would be overjoyed to see Montoute win.

    Casimir explained his personal connection to Montoute: the candidate hails from Marie Therese Street in Gros Islet, the same neighborhood where Casimir was born and raised. Drawing on longstanding local tradition of inter-neighborhood rivalry within Gros Islet, he noted that he would be proud to see a candidate from his home street take the title, while also adding that DuBois and Sonson both have strong shots at victory as well. Speaking ahead of the pageant, Casimir shared that he is already counting down the days to the July 4 event, confident that his constituency’s delegates will put on a show to remember.

  • COMMENTARY: Cultivating community through Art

    COMMENTARY: Cultivating community through Art

    Opening with a timeless reflection from Michelangelo, the conversation around art begins with one of humanity’s most enduring questions: what makes art meaningful to ordinary people? Far from the distant, mystified practice that it is often made out to be, art is fundamentally a subjective expression of an artist’s perspective, and every audience member brings their own lived experience to interpreting it. This inherent subjectivity is not a flaw—it is what makes art such a powerful unifying force, capable of bridging divides between generations, ethnic groups, and religious communities across the globe.

    The very word “art” traces its roots back to the Latin term ars, which translates to skill, craft, or creative practice. While the first recorded written use of the term dates to 13th-century European manuscripts, linguistic historians believe its variants were in use as early as the founding of the Roman Empire. For many, the first formal introduction to art comes in high school, where it is often sidelined as an extracurricular or less important subject. But this overlooks a key opportunity: integrating art into core school curricula alongside other disciplines unlocks unique creative benefits for students that extend far beyond the art room.

    This principle is at the heart of the STEAM education framework, which adds Arts to the original STEM focus on Science, Technology, Engineering, and Mathematics. STEAM uses artistic practice as a gateway to drive student inquiry, collaborative dialogue, and critical thinking. Research and education experts widely agree that this interdisciplinary approach boosts cognitive function and improves reading proficiency, making it a critical investment in long-term student success. That is why advocates argue governments around the world must increase public investment in cultural and creative arts—investment that delivers returns across every area of education and social development.

    The United Nations Educational, Scientific and Cultural Organization (UNESCO) has long recognized art’s global public value. In 2019, UNESCO officially proclaimed World Art Day, an annual global observance held every April 15, to celebrate artistic expression, expand access to art around the world, and honor art’s contributions to global development. The date of April 15 was chosen specifically to honor Leonardo da Vinci, who the organization holds up as a global symbol of freedom of expression, tolerance, and cross-cultural brotherhood. UNESCO’s charter for the day emphasizes that art nurtures creativity, innovation, and cultural diversity, while fostering the open dialogue and curiosity that are foundational to building a free, peaceful, and equitable world. When we protect artistic freedom and support artists, we build the conditions for a more connected and peaceful global community.

    Each year, World Art Day focuses on a new theme that reflects evolving global priorities for artistic engagement. The 2026 theme, unveiled ahead of the April 15 observance, is “A Garden of Expression: Cultivating Community Through Art”. This framing positions art as a shared, living practice: just as a garden thrives when tended collectively by a community, art grows deeper meaning when it is shared, nurtured, and co-created among groups of people. The theme centers building social connection, collective unity, and shared cultural expression, while highlighting art’s unique ability to create feelings of belonging that bind communities together. Beyond celebrating finished artistic works, the 2026 observance also shines a spotlight on K-12 arts education, noting that widespread access to creative learning paves the way for more inclusive and equitable education systems globally.

    For people of all artistic skill levels, there are countless accessible ways to participate in World Art Day 2026, no matter where you live. One of the most popular ways to celebrate is to explore local cultural institutions: many museums and community art galleries host special themed exhibitions and offer discounted or even free admission for the annual observance. If you have ever wanted to explore your own creativity, the day is the perfect occasion to experiment with a new art form—from painting and drawing to sculpting and photography, the joy of creating is open to everyone, regardless of experience. For those looking to connect with other art lovers in their area, local art studios and community centers often host free or low-cost special workshops and classes for World Art Day, giving attendees the chance to learn a new creative skill and build connections with fellow creators in their region.

    As iconic American artist Georgia O’Keeffe once put it: “I found I could say things with color and shapes that I couldn’t say any other way – things I had no words for.” This is the core power of art that World Art Day seeks to celebrate: it gives voice to the ideas and connections that bind us, even when we cannot put those feelings into words.

    This commentary was written by Wayne Campbell, an educator and social commentator focused on how development policy shapes culture and gender equity.