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  • Telling our stories in our own voices: ‘Tiwé Listwa’ comes to life

    Telling our stories in our own voices: ‘Tiwé Listwa’ comes to life

    More than two and a half years of intentional community building and narrative reclamation has culminated in the launch of a landmark literary collection that centers underrepresented local voices from the Caribbean island of Saint Lucia.

    Titled *Tiwé Listwa: Emerging Voices from Saint Lucia*, the new anthology brings together short fiction, poetry, and personal essays from 12 up-and-coming Saint Lucian writers, and made its public debut on August 8 at the Finance Administrative Centre. The launch was intentionally scheduled as a core feature of the island’s annual Emancipation celebrations, aligning with the project’s core mission of centering local historical narratives.

    The idea that grew into this published collection traces back to early 2024, when Amanie Mathurin—founder and creative director of the Listwa Collective, as well as the anthology’s lead editor—found herself fixated on a deceptively simple question: what would unfold if emerging Saint Lucian creators were given dedicated space, mentorship, and community to nurture their craft and claim their unique narrative voices?

    That question bloomed into the organization of the inaugural three-day Tiwé Listwa Writing Retreat, held in October 2025 on the grounds of a former 19th-century slave plantation. Unlike generic writing workshops that focus solely on technical skill building, the retreat was designed to push participants to engage deeply with Saint Lucia’s layered history, distinct cultural identity, and unwritten local stories, encouraging creators to frame these narratives from their own lived perspectives rather than external interpretations.

    “At the heart of this idea was a desire to help them see writing as more than storytelling and imagination,” Mathurin explained. “I wanted them to appreciate writing as an exercise in courage and a tool of narrative justice. A means of confronting the past, making sense of the present, and imagining new possibilities for the future.”

    Over the retreat weekend, participating writers attended workshops covering everything from story structure and publishing navigation to cultural identity, oral folklore, and historical research. Activities included hands-on traditional oral storytelling sessions, deep dives into personal family lineage, and guided tours of the former plantation grounds, where participants processed the site’s complex history. Renowned Jamaican poet and author Kei Miller also joined the retreat to share his decades of experience and industry insight with the emerging creators.

    The resulting anthology features work from a diverse cohort of new writers: Tia Christopher, Monique Auguste, Petana Emilaire, Lyndell Halliday, Kerwin Eloise, Hayzan Louis, Kristina Daniel, Amanda Faye Clarke, Amanie Mathurin, Tresha Lionel, Danielle Ayla Du Bois, and Christa St Ange. Their contributions span a wide range of themes, from retellings of local folklore and explorations of colonial history to intimate personal reflections on family, community, and modern Saint Lucian identity. Mathurin notes the finished collection balances deep affection for the island with thoughtful reflection on its ongoing social and cultural challenges.

    “*Tiwé Listwa: Emerging Voices from Saint Lucia* is many things. It is at once a love letter to our homeland and an expression of quiet concern; a plea to be heard and a call to care,” Mathurin said.

    For the contributing authors, the journey from retreat brainstorm to published book has been a transformative, almost surreal experience. Christa St Ange, one of the featured writers, described the project as a one-of-a-kind opportunity for local creators.

    “It is a carefully crafted Saint Lucian writing space and experience like no other,” St Ange said. “I was able to pick at and probe so many thoughts that were triggered during our writing retreat. The outcome: A love letter to Saint Lucia posing as this impressive anthology of exceptional written works. I am immensely proud to be one of those featured.”

    Fellow contributor Hayzan Louis echoed that sentiment, noting the full emotional weight of the experience was impossible to anticipate before taking part. “Living this experience, from the retreat to the launch, honestly felt like a dream. I could have never imagined the range of emotions I would feel … from being part of such an enlightening retreat surrounded by so many inspirational people, to creating a piece of my own that could hopefully inspire others.”

    The launch event itself held a special surprise for the participating authors: none had seen the final printed volume or its cover art before the official unveiling. The original cover artwork, created by artist Jonathan Gladding, was revealed to the creators and audience for the first time that evening. Ten of the 12 contributors read excerpts from their work during the event, which also featured cultural performances from violinist Michael Fletcher, vocalist Shan Lucien, and the Youth In Arts masqueraders. The Cultural Development Foundation provided funding to support the launch event.

  • LIVE: Handing over of  Jungle Bay funded Dominique Marchand Pre-School to Ministry of Education

    LIVE: Handing over of Jungle Bay funded Dominique Marchand Pre-School to Ministry of Education

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  • LIVE: Disaster and You with the Office of Disaster Management 11th Aug 2026

    LIVE: Disaster and You with the Office of Disaster Management 11th Aug 2026

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  • Department Of Culture Launches “Antigua And Barbuda Steelpan Icons” Campaign

    Department Of Culture Launches “Antigua And Barbuda Steelpan Icons” Campaign

    On the cusp of 2026 World Steelpan Day, Antigua and Barbuda’s Department of Culture has launched a landmark three-week honor initiative to celebrate the generations of creators that built the nation’s beloved steelpan tradition, extending warm greetings to the Caribbean nation’s residents and steelpan communities across the globe. Running from August 11 to August 31, 2026, the campaign will shine a spotlight on the most influential figures in local steelpan history – from master players and creative arrangers to skilled tuners, instrument builders, dedicated tutors, visionary bandleaders, and pioneering steelbands – whose collective talent, innovation, leadership, and decades of service have forged Antigua and Barbuda’s enduring steelpan legacy.

    To ensure that unsung community heroes get their long-overdue recognition, the Department of Culture has issued a public call for recommendations. Local residents are invited to submit profiles of deserving steelpan icons or groups from their communities, including basic information such as the nominee’s name, affiliated community, and area of contribution, along with a short description of their work and any available historical materials or photographs that document their impact.

    At its core, the campaign pursues three key goals: celebrate excellence in steelpan craft, preserve at-risk cultural histories that might otherwise be lost, and foster deeper national pride for the instrument that has become a defining symbol of Antigua and Barbuda’s identity. For the pioneers of the mid-20th century, the road to respect was long and fraught with prejudice. Born as a working-class cultural invention in Trinidad and Tobago, the steelpan arrived in Antigua and Barbuda in the mid-1940s, with 1945 widely marked as the official start of the local movement. In working-class communities across the nation – including Point, Grays Farm, Ottos, Pigotts, Barnes Hill, and New Winthorpes – ordinary laborers turned discarded scrap metal into a groundbreaking new instrument and a unique form of cultural expression.

    In those early days, steelpan players faced rampant discrimination: they were publicly ridiculed, legally punished, physically assaulted, and labeled troublemakers solely for their association with the instrument. Large segments of society dismissed steelpan music as a “hellish cacophony”, rejecting it as an unworthy art form. Yet despite systemic prejudice and widespread resistance, these early pioneers persisted, building instruments by hand, organizing community bands, rehearsing tirelessly, performing across the region, and refining their craft against all odds. Through unwavering determination, the sound once dismissed as mere noise evolved into one of Antigua and Barbuda’s most cherished national musical traditions.

    It did not take long for Antigua and Barbuda’s steelpan movement to earn international acclaim. The nation hosted its first official steelpan competition in 1949, and early local bands began touring across the Caribbean to share their sound with new audiences. By 1952, studio recordings featuring iconic early groups Brute Force, Hells Gate, and North Stars entered the official recorded history of Caribbean steelpan music, cementing the nation’s reputation as a hub of steelpan excellence. Early trailblazing bands including Hells Gate, Brute Force, Red Army, North Stars, and Rising Sun laid the organizational and creative foundation that allowed future generations of steelpan artists to thrive. As the 2026 World Steelpan Day honor campaign gets underway, the Department of Culture reaffirms its gratitude to these pioneers and extends happy World Steelpan Day wishes to the nation and the global steelpan fraternity.

  • Column: Er is geen tweede Borger

    Column: Er is geen tweede Borger

    It was a shock that rippled through Suriname’s media and cultural communities when news broke of Borger Breeveld’s passing on Monday morning. While we all know that life is finite, there are some people who feel as though they should always be with us — and Borger was one of those people for me. A distinct, unforgettable personality, a trailblazer of Suriname’s media sector, and a gifted actor who carved out a unique, permanent place in the nation’s history.

    For most people, mentioning Borger Breeveld immediately brings *Wan Pipel* to mind. His portrayal of Roy in Pim de la Parra’s iconic classic remains etched deep into Suriname’s collective cultural memory, nearly 50 years after the film first premiered, conversations about his performance still continue. Countless Surinamese film and television productions have launched in the decades since, introducing a new wave of local acting talent, but for me, the unmatched impact of *Wan Pipel* has never been equaled — and Borger’s extraordinary acting skill was undeniably a core reason for that lasting legacy.

    My personal memories of Borger extend far beyond his famous role in that film. I first got to know him during a very different chapter of Suriname’s history, when he served as a spokesperson during the country’s military rule. That was no easy era for journalists working in the nation. Power dynamics were fraught, the space for independent journalistic work was tightly constrained, and access to reliable public information was never a given.

    Even in that tense context, Borger remained approachable to reporters. He had empathy for the work journalists needed to do, while also understanding the complexities of the system he operated within. This allowed him to serve as a critical bridge between the press and military leadership. This did not mean all barriers suddenly fell, or every question received an answer — but it meant there was always someone willing to talk, someone who acknowledged that journalists had a job to do. That mattered a great deal in that difficult time.

    Later in his career, I got to see a whole other side of Borger up close: Borger the television producer. When the current affairs program *Suriname Vandaag* launched, he agreed to take on the role of director. I co-led the program and served as one of its co-presenters, so I got to witness his behind-the-scenes talent firsthand.

    *Suriname Vandaag* was broadcast live, a format that anyone working in television knows carries unique pressure. There are no second takes. What happens on air stays on air: a presenter might fumble their lines, a satellite connection could cut out, a segment runs longer than planned, or breaking news can throw the entire run of show completely off schedule. In those moments, you need someone behind the scenes who understands the medium, can make quick, calm decisions, and keep the entire team grounded. That was Borger.

    No one understood the craft of television production better than he did. It was not just knowing where to place a camera or when to cut between angles — he had an intuitive grasp of rhythm, visual storytelling, timing, and on-screen presence. He knew what would resonate with audiences and what would fall flat, and he had a masterful ability to communicate that insight to his team. That last skill is one that should not be underestimated.

    Borger taught the craft to generations of media professionals. An entire cohort of Suriname’s media workers has benefited directly or indirectly from his knowledge and decades of experience. Unlike many people who guard their professional expertise closely, Borger never fit that mold. He was eager to pull others into the field, to help them grow and become better at their work. That is why reducing his legacy to just his role as Roy in *Wan Pipel* does him a deep disservice. He was an actor, yes, but also a director, a producer, a communications strategist, and a teacher. He was part of the pioneering generation that built Suriname’s modern television industry from the ground up, working in an era with far fewer technical resources than we have today.

    Now, almost anyone can shoot footage and stream it live to an audience from a smartphone. But technology alone does not make someone a television professional. Television is a learned craft, and Borger knew that craft inside and out. That is what sticks with me today, alongside the grief of his passing: how much irreplaceable institutional and craft knowledge is lost when a pioneer like Borger leaves us.

    As a country, Suriname has not always done a good job of documenting and passing down the knowledge of the people who built our core industries and cultural sectors. Only when these icons are gone do we realize how much they knew, how many untold stories they carried, how much of our national history is tied to their lives and work. Borger Breeveld was exactly that: a walking, living archive of Suriname’s media and film history.

    For me, I will remember him as I knew him: approachable, deeply knowledgeable, completely at home in every corner of the television industry. He was a man who knew his craft, and dedicated himself to lifting others up along with him.

    *Wan Pipel* will remain, the footage will remain, the memories will remain. And for the many people who learned the craft from him, a part of Borger will live on through their work. But Borger himself is gone. There will never be another like him.

    I send my deepest strength to Borger’s family and all his loved ones as they navigate this enormous loss. Thank you for everything you left to us, and to all of Suriname’s media community. Rest easy, Borger.

  • LIVE: UWP Discussion on National Budget 2026/2027

    LIVE: UWP Discussion on National Budget 2026/2027

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  • LIVE: Budget Debate 2026/2027 continues

    LIVE: Budget Debate 2026/2027 continues

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  • LIVE : Prime Minister Roosevelt Skerrit to address the nation

    LIVE : Prime Minister Roosevelt Skerrit to address the nation

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  • Taiwan : Official start of the 2nd rice-growing season in Artibonite

    Taiwan : Official start of the 2nd rice-growing season in Artibonite

    On September 8, 2026, the official launch of the year’s second rice-growing season marked a key milestone for agricultural development in Haiti’s Artibonite Department, backed by the Taiwan International Cooperation and Development Fund (ICDF) through its ongoing Rice Production Improvement Project.

    As the initiative gets underway, joint teams from the ICDF and local partner farmers have already moved into the critical pre-planting preparation phase across target plots. Workers are deploying mechanized tillers to break up compacted soil, a step that improves root penetration and water retention, before carefully leveling each paddy to create the uniform growing environment critical for strong rice yields. Parallel to land preparation, nursery operations are already underway, utilizing high-quality seeds harvested from the previous growing season to cultivate robust, disease-resistant seedlings that will underpin the new season’s output.

    Project organizers have emphasized that proper paddy leveling is not just a routine task, but a foundational practice that drives long-term productivity. A perfectly leveled field ensures even growth after seedlings are transplanted, eliminating common stressors that cut into harvests: low-lying spots no longer face the risk of root rot from standing water accumulation, while higher, naturally drier areas avoid the unchecked weed growth that outcompetes young rice plants for nutrients and moisture.

    For fields with large natural variations in elevation, the project is advising farmers to segment plots into separate growing zones aligned with the natural topography. This targeted adjustment simplifies irrigation management, ensures every section of the field receives the right amount of water, and makes routine crop health monitoring far more efficient for local producers.

    Going into the 2026 second season, both the Taiwan-based project technical team and Artibonite’s local farming community have highlighted their commitment to context-appropriate sustainable agricultural practices. Through coordinated preparation and shared expertise, stakeholders are working to transform carefully tended paddies into productive landscapes that will support healthy, high-yield rice crops for Haiti’s domestic food supply.

  • LIVE (from 7:30 p.m.): DBF discussion on 2026-2027 National Budget

    LIVE (from 7:30 p.m.): DBF discussion on 2026-2027 National Budget

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