Caribbean Beat — January/February 2025 (#186)

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Calendar of Events March

April

National Carnival October

October

Get this year’s full list of events here

@tobagofestivals

or email us at tobagofestivals@gmail.com

Sun day

20TH

Apri l

2025

Scan Here

Buju Banton

A Message

from our CEO Dear valued customers, I hope the festive season and new year brought you much joy and time with family and friends. I hope 2025 brings you good fortune and great experiences. And for many of us, those great experiences will involve travel in one way or another — whether visiting loved ones, or getting to explore a bucket list destination we’ve always dreamed of experiencing.

So many people I talk with think about their reward schemes, like Caribbean Miles, as opportunities for an unexpected treat — a spontaneous adventure or a well-deserved escape. Travel rewards are like a bonus that can be used in a far more whimsical way, outside of the usual budgetary or other limitations. Much like a lottery ticket, travel reward schemes often prompt the same conversation — what is your dream destination?

For me, I’ve always been fascinated by the rich diversity of Africa, from the vibrancy of Lagos, Nigeria — a bustling, multicultural metropolis of 20 million people, alive with music, festivals, and culture (much like the Caribbean) — to the timeless allure of Cairo in Egypt, where ancient pyramids, monuments, and antiquities stand alongside modern marvels.

Closer to home, I’ve long wanted to explore more of South America: Bogotá, Colombia; São Paulo, Brazil; Santiago, Chile; and Lima, Peru — all cities steeped in history. Bogotá has been transforming itself in recent years to become a vibrant, colourful city surrounded by breathtaking natural landscapes. Known for offering a warm welcome and good value for visitors, it’s close enough for a quick weekend getaway from the Caribbean.

And of course, Caribbean Airlines has recently launched flights to Martinique and Guadeloupe. They operate several times a week, and include convenient connections via Barbados, providing increased travel options across the region. I’m already planning a trip with my family to explore their stunning mix of beaches and mountains, Caribbean and French cultures early in this new year — perhaps it’s time to plan yours too!

One of the ways Caribbean Airlines is working to help make all your travel dreams come true is through our revitalised Caribbean Miles programme, which we relaunched on 1 January, 2025.

It builds on the tremendous progress the airline made in 2024 — a year of growth and connection for us, as we expanded our reach across the region (and beyond), deepening the bonds between us, and all thanks to your loyalty and trust.

Our reinvigorated Caribbean Miles programme is part of our commitment to continue elevating your travel experience in 2025, with initiatives that celebrate our vibrant culture, foster community, and reward your travel with us — making it easier than ever to turn your travel dreams into reality.

You’ll enjoy more generous rewards, with redemption rates beginning at just 5,000 miles. Elite Tier qualification will now reflect your ticket spend, unlocking even greater benefits for our frequent travellers. These changes mean more flexibility and value, so your next getaway might be closer than you think.

Thank you for choosing Caribbean Airlines. We’re here to ensure your travel experience is as vibrant, warm, and welcoming as the Caribbean itself.

Here’s to a great 2025!

Regards, Garvin

CaribbeanAirlines

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With Guyana poised to maintain its record as the world’ fastest growing economy for a fifth consecutive year, authorities are keen on working with international and regional stakeholders, as well as, bilateral partners to ensure its quantitative growth is also qualitative. In alignment with this very vision, the theme for the 2025 edition of the Guyana Energy Conference and Supply Chain Expo is: “Connecting the dots: Integrating the future.”

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Contents No. 186 • Janurary/February 2025

58 78 22 22 Event buzz

Festivals and events around the region

the islands’ party scene, with events so popular they’re being exported far beyond this hemisphere

30 Film buzz

46 Portfolio

Jonathan Ali talks to director Maxime Jean-Baptiste (born to Guianese and French parents) about his first feature, Kouté vwa (Listen to the Voices)

32 Music & book buzz

Reviews by Nigel Campbell and Shivanee Ramlochan

36 Take 5

Carnival culture to the world Gian Franco talks to Caroline Taylor about the new Carnival Catwalk series

42 The deal

Anatomy of a fete As this year’s long T&T Carnival season peaks, Nigel Campbell goes inside

14

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The photo I can’t forget Photographers Jason C Audain, Maria Nunes, and Shaun Rambaran tell us the story behind one cherished image from their rich T&T Carnival archives

52 Panorama

Capturing carnival Laura Dowrich talks to some of the “content creators” showcasing Caribbean carnival culture all year round — and not just the beads and feathers

58 Bucket list

Go with the flow …

Caribbean waterfalls are both gorgeous and rejuvenating. ShellyAnn Inniss recommends six to explore in 2025

70 Snapshot

Kalinago queen Anette Thomas-Sanford — Dominica’s first female Kalinago Chief — has a deep commitment to the development and preservation of her people, culture, and the Kalinago Territory. Paul Crask learns more

74 Backstory

Kwik, kwak, catharsis St Lucian writer, director and educator Raymond Travis Weekes talks to Amy Li Baksh about his passion for bringing regional artforms and Creole language to Caribbean theatre

Caribbean Beat An MEP publication

Editor Caroline Taylor Designer Kevon Webster Editorial assistant Shelly-Ann Inniss Production manager Jacqueline Smith Finance director Joanne Mendes Publisher Jeremy Taylor Business development consultant Halcyon Salazar

Business Development Manager, Tobago and International Evelyn Chung T: (868) 684–4409 E: evelyn@meppublishers.com

78 Closeup

No weak heart Prize-winning Jamaican writer and educator Safiya Sinclair sits with Fayola Fraser, reflecting on her unique personal and professional journeys — and her critically acclaimed memoir How to Say Babylon

Business Development Manager, Trinidad Tracy Farrag T: (868) 318–1996 E: tracy@meppublishers.com

82 Escape

Antigua & Barbuda calling Our guide to exploring the islands, no matter what the length of your stay

84 Inspire

She found her roots in St Lucia Giselle Laronde-West meets Alcina Nolley, the versatile CaribbeanAmerican artist and octogenarian who found beauty, inspiration, and a home in the Helen of the West Indies

Media & Editorial Projects Ltd. 6 Prospect Avenue, Long Circular, Maraval 120111, Trinidad and Tobago T: (868) 622–3821/6138 E: caribbean-beat@meppublishers.com Websites: meppublishers.com • caribbean-beat.com

Printed in Trinidad & Tobago by

86 On this day

Of eccentricity and resilience From a luxurious family mansion, to a hotel attracting top international artists, and now an iconic survivor of the 2010 earthquake, James Ferguson revisits the storied history of Haiti’s Hotel Oloffson

88 Puzzles & brain teasers

CaribbeanAirlines Website: www.caribbean-airlines.com

© 2025 Media & Editorial Projects Ltd (MEP) and individual contributors. All rights reserved. No part of this magazine, or any content on caribbean-beat.com, may be reproduced in any form without the written permission of the publisher. Caribbean Beat (ISSN 1680–6158) is produced six times a year for Caribbean Airlines (CAL) by MEP, and is also available by subscription. MEP makes effort to ensure all content is accurate up to press time. Views expressed in Caribbean Beat are not necessarily those of MEP or CAL, and neither party accepts any responsibility for advertising content.

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Cover The calm before the flames: a blue devil in a moment of quiet before his explosive performance at the Traditional Individuals Competition in Port of Spain — a highlight of Trinidad Carnival Photo Warren Le Platte

This issue’s contributors: Amy Li Baksh is a Trinbagonian writer, artist, and activist with a passion for Caribbean history, culture, and all things creative. She is a contributing writer for BBC Future Planet and UWI Today.

Nigel Campbell is a Trinidad-based concert producer, music industry analyst, commentator, and reviewer who’s documented Caribbean music in print, on television, and on the Music Matters: The Caribbean Edition podcast.

Paul Crask — originally from England — is a travel and culture journalist who has lived in Dominica since 2005.

Laura Dowrich has boundless passion for the Caribbean region and diaspora, having spent almost 30 years in media telling our stories — from food and music to traditions and languages. She is currently the Public Relations Manager for Experience Turks & Caicos.

James Ferguson is an Oxford-based publisher, translator and writer with a background in French culture and Caribbean history. He has written several books on Haiti, the Dominican Republic, and Jamaica.

Fayola Fraser is an international development professional with a lifelong passion for storytelling. She is a contributing features writer for the Trinidad Guardian newspaper.

Shelly-Ann Inniss is a Trinidad-based Barbadian writer; community builder; self-appointed tourism ambassador for Barbados; gluten-free baker and founder of Your Gluten-free Companion (producing gluten-free flour and products).

Giselle Laronde-West (Chaconia Medal Gold, and Miss World 1986) is a Conflict Women brand ambassador, Foundation for the Enhancement & Enrichment of Life board member, and 3rd-degree black belt karateka, with bylines in MACO Magazine, Trinidad Weddings, and others.

Caroline Taylor is a writer, editor, performer, and producer particularly interested in culture and the environment. Her work has appeared in National Geographic, The Guardian (UK), and others.

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17

A Message

Caribbean Culture: from our CEO connecting hearts across the islands

I

n a vibrant celebration of our shared heritage, Caribbean Airlines proudly launched its Caribbean Culture division in February 2024. This exciting new initiative aims to serve our passengers in a uniquely engaging way, bringing the rich tapestry of Caribbean life to the forefront of the travel experience.

A year of cultural triumphs The division kicked off with a bang, hosting “Culture in D Park” — a grand carnival experience that transformed an ordinary day into an extraordinary celebration of Caribbean spirit. Families from every creed and race came together, immersing themselves in workshops, savouring local delicacies, and moving to the rhythm of performances by regional stars like Patrice Roberts, Bunji Garlin, Ravi B, and road march winner Mical Teja. With approximately 3,000 attendees, the event ignited a spark of excitement that would burn bright through the year.

March saw the introduction of Caribbean Village Cricket, a T10 tournament that united communities across Jamaica, Guyana, and Trinidad. This

#REcalibrated

grassroots competition captured the hearts of locals and visitors alike, culminating in a thrilling final in Trinidad where Guyana emerged victorious. More than just a sporting event, it became a celebration of Caribbean unity and friendly rivalry.

As summer heat peaked in July, so did the flavours at our “Flavour and Flora” culinary extravaganza. Chefs from Trinidad, Grenada, Barbados, Guyana, and Jamaica showcased the diverse culinary heritage of the region, offering a mouthwatering journey through Caribbean cuisine. With the legendary Machel Montano providing the soundtrack, food enthusiasts indulged in an unforgettable fusion of taste and sound.

The heart of Caribbean Culture At its core, Caribbean Culture seeks to redefine what it means to travel within our region. It’s not just about moving from one island to another; it’s about connecting with the soul of the Caribbean. Through these events and our newly launched social media platform, we’re creating spaces for cultural exchange, celebration, and discovery.

Looking ahead: 2025 and beyond As we sail into 2025, Caribbean Culture is setting its sights even higher. Our mission is to redefine the meaning of “home” for our people — enhancing every aspect of the travel experience while opening doors to new territories.

Passengers can look forward to: • Expanded cultural events across more islands and destinations • Connectivity and representation through sport and food • Carnival initiatives that bring the spirit of the Caribbean to life.

With Caribbean Culture, every flight becomes more than a journey — it’s an opportunity to celebrate the vibrant spirit that makes our region truly unique. As we connect the dots between islands, we also connect hearts, create memories, and foster a deeper appreciation for the place we call HOME.

CaribbeanAirlines

wish you were here

Shark Hole, Barbados This tiny cove on the southeast coast is one of Barbados’ almost secret treasures. Overhanging rocks surround a stretch of brilliant white sand, while a barrier reef protects the inlet from the wild waves and currents of the Atlantic. This sliver of bliss proves that good things can come in small packages. And the name? Derived from a longtime fishing story, apparently. Shark Hole has atmosphere galore, but no sharks.

Photo by Akira Joseph Photography

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Montez Kerr/Alamy Stock Photo

Shelly-Ann Inniss on the major festivals, holidays, and celebrations across the region this January and February

Cal Sport Media/Alamy Stock Photo

Let’s get festive!

Could parading or “rushing” through the streets of The Bahamas be the best possible start to the New Year?

Junkanoo (1 January) begins in the cool darkness — from approximately 2am — with traditional, percussive music (cowbells, horns, whistles, and goatskin drums) echoing through the streets as masqueraders dance (some with high-spirited dance routines) in colourful costumes.

Further south, at Maroon Fest (5–6 January) in Accompong, Jamaica, commemorate the signing of the historic peace treaty over 285 years ago that ended the war between the Maroons and the British. Highlights include the Captain Cudjoe Awards Ceremony, young warriors competitions, an Indigenous Peoples get-together, and live shows.

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St Lucia’s Nobel Laureate Festival (5–31 January) presents 30 events (dances, seminars, exhibitions, and workshops) celebrating culture, saluting the island’s Nobel Laureates Sir Derek Walcott and Sir Arthur Lewis, and honouring other notable St Lucians — like St Lucia’s first ever Olympic medallist Julien Alfred, who won 100m gold at the Paris Olympics last year.

John Kellerman/Alamy Stock Photo

event buzz

Dora Ramirez/Shutterstock.com

Trade winds fill the sails of boats competing in offshore and inshore races at the RORC Transatlantic Race ending in Grenada (12 January), Barbados Sailing Week (17–22 January), Grenada Sailing Week (26– 31 January), Montego Bay Pineapple Cup (23–31 January), Caribbean Multihull Challenge (31 January–2 February), RORC Nelson’s Cup Series (18–21 February), and RORC Caribbean 600 Series (24–28 February).

Miami’s Art Deco Weekend (18–20 January) promises fun tours, live music, a classic car show, a diverse lecture series, and more! But first, the Cayman Cookout (15–20 January) on Grand Cayman offers a thrilling range of experiences with elegant displays of food and wine.

Lovers of reggae and dancehall won’t want to miss Jamaica’s Rebel Salute (17–18 January), before immersing themselves in the tribute concerts, symposia, and live shows — many featuring some of the genres’ most renowned artists — during Reggae Month (February) in Kingston, a UNESCO City of Music.

Bash Matumba/Shutterstock.com

Puerto Rico’s Three Kings Day (6 January) sees over 25,000 people filling the streets of Juana Díaz to celebrate the Epiphany Festival & Parade. Don’t miss the actors on horseback — with thick beards and vibrant robes — portraying the three kings, Magi, or wise men.

WWW.CARIBBEAN-AIRLINES.COM

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event buzz

Courtesy Visit Barbados

Initially called Jamestown, Holetown was the first English settlement in Barbados (1625). Bajans and visitors alike celebrate its history at the annual Barbados Holetown Festival (9–16 February), featuring the Soca Rumble and Grand Floodlit Tattoo, plus a street fair, 5K, historical bus tours, and parades.

If you’ve heard of Basil’s Bar on Mustique, chances are you’re also familiar with the Mustique Blues Festival (22 January–5 February). For almost 30 years, international blues artistes have transformed the bar into “The House of Blues”, making the festival a highlight on Mustique’s annual calendar. The Bequia Music Festival (30 January–2 February) is also a mustdo in the Grenadines.

Going home with a few books is almost inevitable at the Havana International Book Fair (3–13 February). Bask in the readings and concerts, children’s activities, art exhibitions, and lively atmosphere.

Over in Belize, discover the handicrafts and masterpieces of local and regional artists and artisans at the Placencia Sidewalk Art Festival (8–9 February).

Guyana celebrates its Republic Day with Mashramani (23 February), bringing joy to everyone with chutney soca performances, calypso and soca music contests, street parades, and vibrant revellers on floats with nationbuilding messages.

If you’re in Trinidad for Carnival, don’t miss Monday Madness (24 February) — formerly Machel Monday — with performances by soca powerhouses Machel Montano, Patrice Roberts, Nadia Batson, Nailah Blackman, and many more at the Queen’s Park Savannah.

Cheer on the best equestrians from Martinique and Guadeloupe at the Martingale Jumping Show (24–26 January) in Guadeloupe, hosted by the Martingale Equestrian Centre and featuring a thrilling display of skill, speed, and precision.

Fireworks decorate the sky in Suriname for the lunisolar Chinese New Year or Spring Festival (29 January), ushering in the Year of the Snake with the traditional lion dance, reunions, and parades. Suriname is the only country in the Western Hemisphere to recognise it as a public holiday.

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Panther Media GmbH/Alamy Stock Photo

Calling all anglers! Join the legends of the sea when you reel in a recordbreaking catch at Grenada’s Spice Island Billfish Tournament (27–31 January).

Edwin Remsberg/Alamy Stock Photo

event buzz

Carnival time again Speaking of Carnival … this year’s pre-Lenten carnival season across the diaspora is a long one, with many celebrations culminating in early March. But January and February are when a lot of the action is — especially in Trinidad & Tobago.

Barranquilla Carnival, Colombia 1–4 March Aruba Carnival 1–2 March

La Vega and Santiago Carnivals, Dominican Republic 12 February Encarnación Carnival, Paraguay 25 January–15 February Carnaval de Ponce, Puerto Rico 21 February–4 March Carnaval de San Pedro, Belize 23 February

Carnival of Oruro, Bolivia 24 February–5 March Martinique Carnival 26 February–4 March Curaçao Carnival 28 February–5 March Rio de Janeiro Carnival, Brazil 28 February–8 March

Guadeloupe Carnival 2–5 March El Callao Carnival, Venezuela 3 March Los Diablos Danzantes, Venezuela 3 March Trinidad & Tobago Carnival Through 4 March Carriacou Shakespeare Mas 3–4 March New Orleans Mardi Gras, USA 4 March

Richard Ellis/Alamy Stock Photo

Ecuador Carnival 4 March Carnaval Miami, USA 9 March

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WWW.CARIBBEAN-BEAT.COM

event buzz

The Caribbean Carnival Mecca

Maria Nunes Photography

The beauty of mas, mixed with the charm of Trinbagonian people, and the rich history of the islands’ culture and masquerade traditions make Trinidad & Tobago Carnival a bucket list experience like no other.

Leading up to the highly anticipated Parade of the Bands (3–4 March), myriad parties, cultural showcases and competitions (featuring costumes, steelpan, stickfighting, soca and calypso, and more), and major events like Kambule, Panorama, Dimanche Gras, and J’ouvert keep Carnival enthusiasts pumping. Through the season, sleep is but a concept! Come Carnival Monday and Tuesday, “play a mas” as Carnival lovers take to the streets for one of the biggest, best, and most beautiful street parties in the world.

WWW.CARIBBEAN-AIRLINES.COM

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film buzz Photography courtesy Maxime Jean-Baptiste

“We had to listen to the voices of the protagonists ourselves” In French Guiana in 2012, Lucas Diomar — a young musician and DJ — was the tragic victim of murder. This event continues to be a source of grief for Lucas’ mother Nicole, and Lucas’ best friend Yannick.

In the summer of 2023, Nicole’s young grandson Melrick comes from his home in France to spend the summer with his grandmother. As time passes, Nicole, Yannick, and Melrick find themselves dealing with the loss of Lucas in different ways.

Directed by Lucas’ cousin Maxime Jean-Baptiste, and interweaving documentary with fiction, Kouté vwa (Listen to the Voices) is a poignant, often lyrical meditation on the aftereffects of violence — particularly a violence rooted in a colonial context.

Born in Paris to Guianese and French parents and based in Brussels, Maxime Jean-Baptiste spoke with Jonathan Ali about his accomplished first feature.

How close were you to your cousin Lucas?

Lucas and I were close as kids; we were the same age. He was a mirror to me.

When he died in 2012, something broke inside of me. I felt a lot of rage. In 2018, I attended a film residency and shared a rough edit of video archives dealing with Lucas’ death — featuring protest marches on the street, and Lucas’ drumming band playing during the funeral ceremony. After showing the edit I couldn’t speak and decided that I should make a longer version of it.

When did you approach your aunt Nicole with the idea of the film?

When I first came back to Guiana eight years after Lucas’ murder, I started to get close to Nicole and understand her pain. At first it was not easy. She was resistant toward the idea of creating a film from this story. In 2022, she decided to organise a tribute to Lucas on the 10th anniversary of his death, and I suggested that we will film it. Even if the experience was hard, she understood progressively what we were doing. She saw the importance of telling this story.

The film deals with real events and real people, but was scripted by yourself and your sister, Audrey Jean-Baptiste.

Yes. The 2022 film shoot was raw material, to build on during the writing process, and create a more fictional tale based on reality. We decided to write the film as if it was a comingof-age film, highlighting Melrick’s gaze. That permitted us to add life, spontaneity, and laughter around the heart of the film: the tragedy of Lucas’ death. As for Nicole, her story is complex, and I wanted to let the audience know it in her own words. Still, there was a precise set-up to create a way for Nicole to tell her story.

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Left Director Maxime Jean-Baptiste Opposite page and below Melrick Diomar (grandson) and Nicole Diomar star in Kouté vwa

During the process, I discovered that I was reproducing a system that could at some point destroy myself and my relationships with Nicole, Melrick and Yannick In what ways did the traumatic nature of the subject matter shape the film?

In cinema — both fiction and documentary — there is now much talk about ethics, and the impact a film can have not only on the actors and participants, but the crew as well. The film goes to festivals, the director is touring the world, but the participants are sometimes more traumatised after having re-plunged into their traumas.

It actually took me a lot of time to see this. The first versions of the script were quite violent. During the process, I discovered that I was reproducing a system that could at some point destroy myself and my relationships with Nicole, Melrick and Yannick. I had to stop and stay very close to the participants and the relationships I have with them. We had to listen to the voices of the protagonists ourselves.

Nicole is now very proud of the film, and when the occasion of a screening occurs in Guiana, she will be there to talk about it.

What was the premiere of the film there like?

The film touched a lot of people when it premiered in Guiana. I felt it. It was opening up possibilities of living with such a loss. And I think that this is a new stage for Nicole in her healing process. On the other hand, Yannick’s storyline is much more unresolved. He is still traumatised, and the film sort of reopened the wound.

But it cannot heal it. It will take a lot of time. A film cannot save the world. But it can reopen wounds in order for us to see them, for us to listen to them.

Kouté vwa (Listen to the Voices) • 2024 Maxime Jean-Baptiste Belgium, France, French Guiana • 77 minutes WWW.CARIBBEAN-AIRLINES.COM

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music buzz

This month’s listening picks from the Caribbean Reviews by Nigel Campbell

Nessa Preppy

Jimmy October

Sabrina Francis

Teddyson John

Little Miss Arima (selfreleased)

From October with Love (Ineffable Records)

Limbo (self-released) • Single

Thank Me Later (selfreleased) • Single

Nessa Preppy, a chameleon among soca’s leading ladies, presents a new album that encompasses new music, with enough tunes to extend the currency of the album beyond one Trinidad Carnival cycle. The 14 tunes range from soca to island pop — fused with dancehall, chill Afrobeats, and the newest iterations of Trini zess music. Bookended by two potential hits outside of the mas’ (“Or You Don’t”, an ultimatum to a lover; and “Blessings”, a confident self-affirmation), this album suggests following the herd with one season of songs is not on her radar.

Her airy, childlike vocals are juxtaposed with lyrics that speak of carnal desires, offering a proud female perspective on behaviour and body image — both inside and outside Carnival.

Well-produced collaborations with local stars from various island genres — M1, Lady Lava, Jahllano, V’ghn, Freetown, and Yung Bredda — give a hint at the breadth of influences on tap. Island vibes for global ears.

Jimmy October some years ago defined his work as “new calypso”, a reckoning with the still nascent possibilities of original Trinidad music and celebration of a new way of being: familiar here, appealing there. On his new EP, this continuing exercise in songcraft has yielded 23 minutes of Caribbean music that burns with ambition to break down the barriers to international success. A pair of Trinidadian producers, Brooklyn Decent and Tano, guide the EP in a direction that recognises the modern pop world is moving toward “ethnic” percussion and tropical loops that don’t “challenge” listeners and dancers. Sly lyrics define desire, but aren’t crude — playing instead to our island appreciation for double entendre. The EP closer, “Romance”, hints at Latin American vibes — both in the lyrics about a hopeful liaison with a Spanishspeaking beauty, and guitar that mimics Carlos Santana on electric and acoustic guitar. ¡Me gusta!

There seems to be a new trend of female singers giving ultimatums to their lovers, but not going the extra step of just calling it off, once and for all.

Grenadian songbird Sabrina Francis sings: I’m in a bind, should I go or stay with you / Tell me what you find, ‘cause my heart’s been torn in two / I’m in a limbo, and I don’t know what to do. How many chances can a guy get to break a heart?

That question looks like a dilemma that resonates with audiences worldwide. The warning that follows (If you don’t say something, watch me as I go) may seem like a final resolution, but the song is a cautious affirmation: don’t be taken for granted.

“Limbo” speaks to young and old, naïve and experienced, with lyrics that tell a universal story of second chances being better than none, while a wicked slow tropical groove percolates. The message — one which says there is always a way back home, and “you know where to find me” — can play on forever.

Island love lives in hope.

Soca music often has a generic music riddim and lyric template that usually get the job done (making many dance during carnival celebrations — whether on the road or at a party).

But sometimes, an artist or song can stand out — a rare outlier birthed in the maelstrom of Trinidad Carnival rhythms that lives far beyond a singular season or solitary moment in one year. St Lucian soca ambassador Teddyson John has produced a single here that has the markings of another long-lasting hit he can transform (post-Carnival) into the smooth jazzy covers that have given him a second life — and almost a second career. Its lyrics speak to situations beyond the festival niche, making this song work in many performance settings. Its melody veers away from the mediocre, while an iron band rhythm, a unique steelpan solo, and harmony using more than three chords all make this song sparkle in and out of the season. Yes, you will thank him later.

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book buzz

This month’s reading picks from the Caribbean Reviews by Shivanee Ramlochan, Book Review Editor

Palmyra

by Karen Barrow (Friesen Press, 330 pp, ISBN 9781039195813) Lush and craftily constructed, this Gothic suspense novel from Trinidadian-Canadian Karen Barrow marks her as a debut author worth watching. Palmyra is narrated through the gaze of Joe — an ambitious, scholarly young boy living on a cocoa estate on the cusp of the 20th century. The figures in that world, from both genteel and proletariat classes, contend with a rigid social hierarchy, the spectres of slavery, and the cruel impositions respectability places on everyone’s truest dreams. Through a tempestuous tableau, laced with secret assignations and blood-curdling shocks, Barrow governs her prose with a judicious eye for detail — a discerning vantage point that allows the reader satisfying narrative immersions. Intrigue, scandal, and even a sepulchral warning are assembled in this gratifyingly-paced plot.

As Joe himself says in a reflective moment: It’s been a house of ghosts drifting past each other.

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Resistance, Refuge, Revival: The Indigenous Kalinagos of Dominica

by Lennox Honychurch (Papillote Press, 300 pp, ISBN 9781739130329) Dominican historian, artist, and anthropologist Lennox Honychurch gives us a living archive here. Every articulable framework by which a people can be known, from nomenclature to social science, is not only defined in this illustrated volume, but attended to with a crystalline and fastidious level of detail. Honychurch assembles his 50 years (and counting) of research and fieldwork in three sections (resistance, refuge, revival), detailing the Kalinagos’ arrival, internal governance systems, accommodations with alien Europeans, and cultural evolutionary practices across centuries of adaptive survival. “Resilience” on its own is an insufficient term to represent the enduring Kalinago presence in Dominica. Honychurch provides an accessible, indispensable lexicography for understanding why and how these First Peoples have persisted in our anthropocene.

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The House of Plain Truth

by Donna Hemans (Zibby Books, 288 pp, ISBN 9781958506073) For Pearline, “the rusted locks on the steamer trunks she thinks hold her family’s secrets” are in danger of snapping. She’s closed the Brooklyn chapter of her life to focus on caring for her father, but the final request he makes pushes her forbearance to its limits.

In a similar vein to her debut (Tea by the Sea), Jamaican Hemans’ sophomore novel The House of Plain Truth stirs up the storytelling seabed of some psychological mystery, some family skeletons whose bones rattle with reckless decisions and generational shame.

Pearline battles and banters with her siblings, weeps over what-might-havebeens, and summons all the courage she possesses to unlatch her family’s rusted locks. In this affecting, stirring saga, Hemans asks her reader, What makes a dying man’s wish more precious than the hopes of his whole, chaotic bloodline?

West of West Indian

by Linzey Corridon (Mawenzi House, 112 pp, ISBN 9781774151525) I am a vessel bleeding fire / raging and treacherous and alive / I will not apologise / a library of visages precedes me / a forest of calloused hands awaits me … In the seething volcanoes of Linzey Corridon’s poems, nothing unfeeling can survive. West of West Indian, the Vincentian-Canadian’s debut collection, prisms queer Caribbean selfhoods as constantly bivalved between choler and ardour.

The speakers of these verses embrace their love for men, while lamenting their inability to walk unfettered in that passion in the lands of their birth. Remembrances for comrades lost, bittersweet odes to Antillean shores that fail to be fully welcoming: a frank and disarming honesty limns this writing. Corridon reveals the apertures left in the traumatic wake of self-exile, in poem after powerful poem.

Mesmeric, heartbreaking language resides at this book’s core.

take 5

Carnival culture to the world

1 What inspired Carnival Catwalk?

1.

Carnival Catwalk was inspired by the vibrant and artistic traditions of Trinidad & Tobago Carnival, the birthplace of Caribbean carnival. It seeks to merge this exuberant cultural celebration with the high-stakes world of high fashion to create a platform that showcases the creativity of designers from around the world. It is a testament to the potential of Caribbean culture on a global stage.

Jerome “Rome” Precilla, a household name in Trinidad’s entertainment scene, conceptualised the idea after his experience on VH1’s Girls Cruise — getting a firsthand look at the world of reality TV production, and realising there was an opportunity to bring Trinidad’s carnival culture to the world.

As CEO of Pavilion Entertainment, I have extensive experience producing and distributing

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Gian Franco talks to Caroline Taylor about the exciting new Carnival Catwalk series that premieres in January Photography courtesy Carnival Catwalk

Caribbean-centred content. Jerome approached me with the idea, and we continued to develop the concept — bringing in key local and international creatives and stakeholders from fashion and reality TV production.

Rodney Seemungal, CEO of Start Global Productions, a premier production studio, was the final and critical price of the puzzle. We were supported by a seasoned team of international entertainment executives, including Chandler Dewitt (Project Runway, Making the Cut), Taylor Gilmartin (Love Is Blind), and Rebecca Snavley (Project Runway).

2 What can viewers expect from the series?

2.

Carnival Catwalk delivers a dynamic reality TV competition packed with creativity, drama, and cultural exploration. It features 10 designers from around the world, including local talents from T&T and international designers.

Each brings unique perspectives and influences to the competition.

The hosts are Rome (from T&T) and Kandi King (from Jamaica), both charismatic figures deeply rooted in the carnival world; and there is a panel of judges led by former Miss Universe Wendy Fitzwilliam, with guest judges like Anya Ayoung-Chee (fashion designer and Project Runway winner), and

Opposite page Models take to the runway on day 1 of Carnival Catwalk Above Former Miss Universe Wendy Fitzwillam (far right) leads a panel of celebrity guest judges Above right Hosts Jerome “Rome” Priscilla and Kandi King Right The talented designers vying for the grand prize

cultural icons from fashion, music, and carnival.

Designers then face tasks inspired by carnival culture, such as creating eco-friendly resort wear, futuristic designs, and costumes reflecting themes like “Birds of Paradise” or “Mas Metamorphosis”.

There’s a $100,000 cash prize, an all-expensespaid trip to Milan Fashion Week, a scholarship to the University of Trinidad & Tobago’s design school, and other exciting rewards.

The show combines runway drama, intense design challenges, emotional storytelling, and stunning visuals, making it a captivating watch for global audiences.

3 Where do all the participants and 3. hosts come from?

Designers come from T&T (Kristian Jaggesar, Naballah Chi, Ryan Chan, Panterona); London, England (Cee Bolakee, Mimine Agbantou); Berlin, Germany (Damur); the United States (Tristan is from Atlanta, Georgia; and Sandhya Garg from Scottsdale, Arizona); and Amsterdam, the Netherlands (Marco-Stefano Pintus). This global lineup — with a blend of local and international talent — ensures the show has a rich mix of cultural influences, creating an authentic yet globally appealing dynamic.

4 Where can audiences tune in to the 4. series?

Caribbean Airlines will show Carnival Catwalk as part of their inflight programming. CNC3, our broadcasting partner, will air the show in T&T. Premium Caribbean network Flow 1 will air the

show throughout the Caribbean. Pavilion+ is our streaming partner. This multi-channel approach ensures accessibility for both local and international viewers.

5 What do you hope comes next after this series?

5.

The vision for Carnival Catwalk extends far beyond its initial season. Future seasons will include localised editions, like Carnival Catwalk Canada, Carnival Catwalk UK, and others. Winners from these editions will compete in a grand “All Star” finale in T&T. The show aims to elevate T&T Carnival as a global cultural and creative phenomenon, boosting tourism and showcasing its heritage — and plans to establish a continuous pipeline of designers contributing to both the global fashion scene and carnival bands worldwide.

It’s more than a reality TV competition — it’s a celebration of creativity, culture, and community, offering a unique platform that highlights the Caribbean’s rich traditions while fostering global connections. It is poised to become a long-running series with sustainable impact — creating opportunities for emerging talent, and contributing to the cultural and economic development of T&T, and beyond.

The production is committed to authenticity and excellence, employing over 180 creatives from T&T, and leveraging financial incentives like the FilmTT Production Rebate and a 150% tax allowance for sponsors. These efforts ensure both the cultural integrity and financial viability of the show. n

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layover

Georgetown, Guyana

Gail Johnson/Shutterstock.com

With its wide avenues lined with flowering trees, parks, canals dating to Dutch times, distinctive wooden buildings (some with louvred Demerara shutters, like the one pictured), Guyana’s capital Georgetown — affectionately called the “Garden City of the Caribbean” — exudes a physical graciousness, even with its bustling population, busy port and harbour. Look for the Gothic-style City Hall (1887) and majestic Parliament building on Avenue of the Republic; St George’s Anglican Cathedral (1892 — one of the world’s tallest wooden buildings at 142 feet); and the Law Courts (1878) with their imitation Tudor frames.

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the deal

As this year’s long T&T Carnival season peaks, Nigel Campbell goes inside the islands’ remarkable party scene — now a full-blown industry where some of these fete experiences are so popular they are being exported overseas, far beyond the Caribbean diaspora

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few years ago, a St Lucian — recognising me as a Trinidadian in her island — jokingly said to me, “You Trinis like to party a lot” … to which I responded, “We invent fete!” That cute little declaration — with some assonance to boot — was, to me, a simple fact of Caribbean life. Trinidad & Tobago has perfected the fete, and more so the Carnival fete, and gotten it down to a science.

A former national Director of Culture once said: “the fete aesthetic rules and sometimes defines the Carnival for many here and abroad, more than the shows like Dimanche Gras and Calypso Fiesta, and even the revered calypso tents.” The still-in-use vintage tagline for Carnival — “The Greatest Show on Earth” — should perhaps be rebranded as “The Biggest Party on the Planet”.

Carnival fete production and participation now constitute an industry.

The categorisation of various fete types indicate potential profitability, social profiles, and the art of the Trini to continually outdo with new ways of having fun.

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Fetes can be indoor or outdoor; from sunrise or into sunset; fabulous high-end haute cuisine events, or gritty general admission brams that display island innovation and inspiration, energ y, stamina, hedonism and brio. This ain’t your parent’s casual house party or lime … although those too still exist.

Why Trinidad and nowhere else?

Perhaps because of robust economy sup-

porting a vast array of event infrastructure and logistical assets, and a global recognition that this island is the mecca of Caribbean carnivals — the spiritual birthplace of New World African celebration.

The carnivalesque, the theatre, the chaos, and the resistance of the mas all live here.

The commodification of fun by party planners and an eager audience is big business. In 2022, the Minister of Tourism said in Parliament, “[For] Carnival alone, the direct economic value for visitor spend is around [US$66.5 million, attracting] approximately 10% of our annual visitors to our shores.” For 2024, the Ministry reported visitor spend was “approximately US$93.3 million or TT$634 million.”

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eyond the economics of feting and the industry that has grown up around it are tangible and intangible benefits — including the lasting memories of a great Carnival fete. After mastering a vocabulary of action words — to wine and

Courtesy Soca Brainwash/Anthony Maugee

Courtesy BeachHouse

Anatomy of a Carnival fete

Courtesy BeachHouse

Soca artiste Iwer George entertains BeachHouse patrons Opposite page, top Revellers at BeachHouse cooler fete Opposite page, below Having a time at Soca Brainwash: The Western Story 2024

to jam up on a bumper; to lime and to fete; and (an oldie but goodie) to palance — come a menu of broad fete options: bram, blocko, jam session.

Fetes come in varieties depending on your disposable income, your stamina, your appetite for luxe lifestyles, your tolerance (or desire) for dirty dancing under sun or moon, and on your preference for land vs sea frolicking.

The traditional fete — where you pay an entrance fee, buy your own drinks and food on site, and enjoy live entertainment and DJs — has been around for decades, descended from the once massively popular public events hosted by sporting and social clubs, and by public servants at government agencies and national utilities.

There was a kind of “all o’ we is one” vibe, minimising differences of class and race while amplifying joy and fun. As the society evolved and fete specialisation and differentiation became a thing, that general admission event waned in popularity, leaving few — including the granddaddy of them all, the massive Army Fete.

Literally, the Army is the security, so their boast of “the safest fete in Carnival”

“This thing is serious. It is one of Trinis’ main outlets for expressing themselves and just having a good time. We cannot take it for granted, it’s not a hustle.” is probably true. Highlights include a big stage with all the major soca artists and DJs. Shorts and sneakers are suggested clothing (wearing camouflage is illegal in Trinidad, so be advised) for marathon partying, with an enhanced VIP section, and the time-limited option of walking with your own cooler of drinks as add-ons.

Carnival fete options evolved over the decades into two broad categories: the “cooler fete” and the all-inclusive fete.

They both come in many “flavours”. The experience of trying one or preferably both is an island rite of passage for the novice party-goer and experienced inveterate reveller alike.

The cooler fete — where patrons are encouraged to bring your own drinks in a portable cooler — is a value-for-money

option that has taken on new popularity over the years. Food services, sometimes via sponsors, focus on local comfort foods like the ubiquitous doubles and corn soup, pholourie, and bake-and-shark.

Cathy Ann Boucaud of J’ouvert band D’Cocoa Crew and founder of the stellar 15-year-old “cooler fete with a sea view”, Bayview Friday (held on the Friday before Carnival), says that her fetes “allow patrons unlimited choice on drinks — their own!”

Nariba Robinson, founder of Zèle Events — with its branded cooler fetes and boat cruise — notes, “This thing is serious. It is one of Trinis’ main outlets for expressing themselves and just having a good time. We cannot take it for granted, it’s not a hustle.”

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Right Patrons take their “unlimited” drinks to Bayview Friday (cooler fete) Below Wide varieties of food are served at BeachHouse cooler fete

Both entrepreneurs maintain that the holistic experience — cost, comfort, and casual atmosphere — matters to patrons.

Both also extend the party experience onto the road, working within bands on Carnival Monday and Tuesday, blurring the line between venue-based and street parade catered parties.

Courtesy BeachHouse

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Courtesy Bayview Friday/Toco Media Strong

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t the other end of the spectrum is the all-inclusive fete — a premium, all you can eat and drink party with live entertainment. A kind of limitless aspirational experience, some all-inclusives spare no expense on food and beverages, décor, and ambience.

“A white [clothing] event has always been a classic, well sought-after, wellattended event in Trinidad,” says Collin Abraham, founder and former creative director of the white and green themed Hyatt Lime on the Wednesday before Carnival.

“In addition to taking people away from the norm, we pride ourselves with the fact that wide food variety and service are draws for locals and foreigners alike,” explains Curtis Popplewell, founder of the in-demand, exotically-located BeachHouse held on the Thursday before Carnival. His innovative team has converted sites like an abandoned swimming pool

and an obsolete sugar factory into highend party spaces.

Both men operate with the understanding that the new refined palate of Carnival party goers demands unlimited champagne and lobster, lamb chops, and chefs’ cuisine. The all-inclusive fete model is hugely popular for establishing cross-branding and business opportuni-

ties with corporate entities, as well as fundraising for educational institutions.

As we see, food and beverages, jorts and grog, become distinctive ingredients for Carnival fete success. Location and that almost indefinable feeling — vibes!

— have also become decisive as branding a fete a winner or loser.

Of course, performers — soca artists, bands, and DJs with their high-energy hype men — can also make or break a Carnival fete. Mical Teja — winner of the 2024 Road March was reportedly doing almost a dozen fete appearances per day last season.

Fads and fashion come and go, but the evolved Trinidad Carnival fete is perennial. Fete brands like Soca Brainwash, Stink + Dutty, and Bacchanal Road have become exportable “must attend” events across the Caribbean, in North American cities, and even the Middle East.

Morning, noon, or night — even beyond midnight on Carnival Tuesday — the party continues. The vibes cyah done! n

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portfolio

The photo I can’t forget We asked three photographers — Jason C Audain, Maria Nunes, and Shaun Rambaran — to tell us the story behind one cherished image from their rich T&T Carnival archives.

It turned out the photos they chose all had something in common …

M

as, the performance artform at the heart of Trinidad & Tobago Carnival, is essentially ephemeral. After months of preparation and anticipation, the moment comes with all its energy and passion, colour and fire, and then is gone

... leaving just traces.

“As the years pass, photographs become our memories of Carnival”: so we wrote back in the January/February 2007 issue of Caribbean Beat (available online), where we asked six noted Carnival photographers to select a specially meaningful image from their respective archives, and tell us its story.

For our digital-only Carnival issue in January/February 2021, we asked three more photographers to do the same, and are delighted to share the feature in print for the first time.

Independent of each other, and entirely by coincidence, all three chose photographs of moko jumbies, the traditional mas character derived from West Africa which has enjoyed a major revival in the past decade. There’s a story in that, too.

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“A photo is a story” Jason C. Audain remembers photographing Peter Minshall’s Carnival King The Dying Swan — as told to ShellyAnn Inniss

2016 was my first time photographing the Carnival Kings and Queens competition at the Savannah. I wouldn’t have gotten the photo if it wasn’t for Maria Nunes. I was taking pictures all night, and right before I left I saw Maria and she said, “You can’t leave, The Dying Swan is coming on.” I told her my memory card was full, I couldn’t take any more photos. She pulled out a card and said, “Use that — whenever we meet up again you can give it back.” That’s how I ended up taking photos of Minshall’s Dying Swan [portrayed by Jha-whan Thomas].

Almost everything that night was magical to me, because I’d never experienced Kings and Queens before. A friend of mine asked me to photograph the competition, and that’s how I ended up there that year. Something about the Swan was just different. I was snapping pictures like a madman. I don’t know how it didn’t win the competition — the performance, the execution.

Trinidad Carnival is art. To me, traditional mas has an artistic aspect. Every costume that I’ve seen is not just a costume, it’s art. It’s an exhibition by itself. People see the costume, the

end product, but they don’t see the process behind it. It’s just like a photo, people don’t see the effort in capturing the image.

Photographing mas is a whole waiting process. Most people are just snapping, snapping, snapping. I hold the camera to my eye and wait till I see something special. I have shots in my head that I plan on capturing. I see the photo before it happens.

For me, a photo is a story. If you can’t tell a story in the photo, it makes no sense. If there’s no story, it’s just a pretty snapshot, in my opinion.

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“Like a kind of meditation” Maria Nunes recalls a pre-dawn walk through east Port of Spain with Alan Vaughan’s moko jumbie portrayal The Sun Rises and Overwhelms the Sinnerman

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For me, this image is a reminder of the deeply spiritual and ritual core of Carnival

This photo was taken on Observatory Street in Belmont, east Port of Spain, at about 5am on Carnival Friday morning in 2019. Alan Vaughan, the designer of the mas band Moko Somõkõw, who is portraying The Sun Rises and Overwhelms the Sinnerman, had said to me that he was going to walk from Erthig Road to the Kambule re-enactment on Piccadilly. I thought it would be very special to photograph him moving through the quiet streets. I admired that Alan had delved into the profound literary work of Wilson Harris’s novel Palace of the Peacock to inspire Moko Somõkõw’s presenta-

tion that year. I wanted to document and witness his quiet commitment.

One of the biggest challenges for a moko jumbie out in the street is navigating the constant crisscross of telephone wires and other cables that run from lamppost to lamppost.

There was an added challenge with this costume because of the height of the headpiece, so Alan needed help from his colleague Danielle to guide him safely as he walked. The streets were so desolate at that hour. There was a real sense of the quiet before the unleashing of all the Carnival energies. The walk felt like a kind of meditation. It was beautiful to experience the majestic presence of The Sun Rises Over the Sinnerman literally as the sun emerging out of the darkness of the night.

It was so quiet you could hear the swoosh of the fabric in the costume as he walked. I can remember that sound.

I took a lot of photographs that morning. It was very hard to choose one to share. In the end, I chose this one because of all the details in the surroundings — the vine on the wires, the old stone wall with barbed wire on top, the sense that the street was full of history, and most especially because of the gesture of Danielle’s arm guiding Alan.

For me, this image is a reminder of the deeply spiritual and ritual core of Carnival. So much of the imagery of Carnival we see is thick with the energy of lots of people bathed in bright sunshine. This photo portrays a very real aspect of our Carnival that is often unseen, unnoticed.

That morning was the first time I used a mirrorless camera. It was all a bit of an experiment and learning curve for me to see if I could get the results I’d grown accustomed to with my DSLR. There was no flash involved. Generally speaking, I walk with at least two cameras and multiple lenses and a flash when I’m out in the street for Carnival. You have to be prepared for any eventuality. So much is happening all around you. It’s constantly making split-second decisions.

What I’m striving for in my Carnival photography is simply to be present in a way that doesn’t get in the way — to not get too involved in orchestrating the moment. The photographs I love the most are the ones when the person is lost in their mas and not aware of the camera. Sometimes magic happens.

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“It was a real gift” He doesn’t quite know how it happened, says Shaun Rambaran of photographing Shynel Brizan’s moko jumbie queen Mariella, the Shadow of Consciousness

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Standing with my camera aimed into the darkness, I could sense the audience’s anticipation

What a year was 2019. By the time I took this photo, I’d been photographing stick-walking for dozens of months — beginning with the 1000mokos project out of Alice Yard, then the birth of Alan Vaughn’s band Moko Somõkõw in 2018. How ignorant I was, not knowing those were only the preludes to a coming crescendo.

For Carnival 2019, the surreal theatre of Wilson Harris’s novel Palace of the Peacock was portrayed through the genius of Alan Vaughn by Moko Somõkõw’s moko jumbies. I’d been photographing the band behind the scenes, witnessing the humble

beginnings of each costume, and slowly coming to know the main performers: Tekel “Salti” Sylvan, Russell “Rusty” Grant, and Shynel Brizan, the band’s young queen, who all turned their hands to the making of their costumes.

Cardboard boxes, recycled bits, natural materials, dried leaves, scraps of cloth — simple resources, skilfully worked through the sewing machine of Alan, an artist who paints with fabric just as a painter layers oil paint.

Shynel Brizan’s Mariella, the Shadow of Consciousness was an enormous mas — so large that only small segments of her costume could be seen at once inside the band’s mas camp on Erthig Road in Belmont.

Eventually the day came for her debut, at the Prelims of the 2019 Carnival Queens competition. To secure a favourable place in the photographers’ zone, I didn’t spend that evening with the band, but instead went directly to the Savannah Grand Stand, using my media pass for access. As I waited for our queen, I watched the other competitors cross the stage. They were loud, bright, colourful, all fitfully jamming to the crashing cacophony of thunderous soca.

Then the brightness died. The lights went out. The Savannah went silent. The air was cold. Quiet. Standing with my camera aimed into the darkness, I could sense the audience’s anticipation all around me.

Out of the darkness, ethereal African drumming arose. As the rhythms took hold, pale blue light revealed Mariella, as she rapturously glided on stage. I slipped into a trance. My fingers worked on their own, changing settings to allow for the darker stage, timing Shynel’s movements to trigger the shutter, as my mind drifted deeper and deeper into the spell she cast. I felt my pores raise and my hairs standing in awe of this first-ever moment of seeing the full costume, all put together, drifting across my view.

As Shynel floated off stage, I awoke and found myself kneeling in the pit before the place she’d once stood, several metres away from where I began. I looked down and discovered this photograph sitting inside my camera, not quite knowing how it happened. It was a real gift.

What did this moment say to me about Trinbago Carnival?

It demonstrated the power of art to probe deeply into one’s soul. With so much of Carnival today so commercial and sterilised, it’s heartening to know that true Art can still exist.

And, moreso, that it can be justly recognised. Moko Somõkõw was ecstatic one week later when Shynel Brizan was officially crowned the 2019 Carnival Queen. n

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panorama

Capturing carnival Caribbean carnivals are no longer confined by geography or season.

They form a year-round, international ecosystem, where inside information has real value for would-be revellers. Laura Dowrich talks to some of the “content creators” showcasing Caribbean carnival culture — beyond just the beads and feathers

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n today’s world, much unfolds one social media post, reel, and story at a time — and Caribbean or Trinidad-style carnivals are no exception. From bejewelled costumes with extravagant feathered backpacks and creative makeup to the intricate details of traditional mas, the festival offers up a visual feast perfect for online content.

Yet, for a dedicated group of carnival lovers, capturing the festival’s essence is much more: it’s a passion, love, and mission to share the richness of Caribbean culture with the world. These creators aim to provide authentic insights, information, and a deeper context behind the dazzling display.

For Global Carnivalist, the journey began in 2014 with a simple blog documenting her carnival experiences. As a first-generation American born to Trinidadian parents — avid carnival enthusiasts themselves — she initially focused on North American carnivals. However, it was her review of Trinidad Carnival that truly resonated with audiences. Today, she has amassed over 32,000 followers on Instagram and over 9,000 on TikTok. “I am always keeping in mind that I am giving people information that is valuable to them,” she says. “The more valuable information I put out to the consumer that they can use, the better.”

Known affectionately as Globey, her platform serves a diaspora audience eager for guidance on the various carnivals across the Caribbean. With a background in communications, she gives tips from curated fete lists to planning guides and must-see tourist spots, becoming a go-to source for all things carnival.

Everyting Sim Simma, another notable name in the carnival content scene, stumbled upon this niche by accident. Initially, she focused on food content under her brand Sim Simma Eats the World. But after attending the West Indian Day Parade in

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Brooklyn and posting a review, she was bombarded with inquiries from curious followers. This unexpected interest led her to pivot toward carnival content.

While completing her Master’s degree in Latin American & African studies at New York University, she wrote her thesis on Caribbean carnival being rooted in resistance. Her platform, now dedicated to showcasing authentic carnival experiences, has garnered over 14,000 Instagram followers and 12,000 on TikTok. “I am not a heavy carnival chaser, but I aim to showcase authenticity and let others tell their own stories through my platform,” said the St Kitts & Nevis-born creator.

Chavy, an Antiguan content creator, embraced carnival in his 20s after growing up in a religious environment that did not encourage participation in the festival. His first taste in St Kitts sparked a love for the freedom it offered. Documenting his personal journey — from costume selection to exploring the culture of carnival destinations — Chavy now shares his experiences with over 14,000 followers on Instagram and 3,000 on TikTok. For Bahamianista, carnival came into her life later as well.

Raised in The Bahamas, she knew Junaknoo but didn’t experience Trinidad-style carnival until she moved to the United States for college. Her first Brooklyn carnival left her hooked, and soon after, she began volunteering at the Sesame Flyers mas camp to immerse herself in the culture.

Today, she shares her carnival guides, makeup and costume reveals with over 27,000 Instagram followers and a whopping 134,000 on TikTok. “I think I have been informational from the get-go,” she says. “My dad was a VJ in The Bahamas, so I grew up learning how to speak and present information. That training translated into how I create content today.”

Hemis/Alamy Stock Photo

A little girl participates in Guadeloupe’s Carnival, which is celebrated over two months

The business of carnival content Carnival is more than just a celebration — it’s big business.

For many islands, the festival attracts tourists during shoulder months when visitor numbers are typically lower, providing a financial boost to local economies. Recognising the potential of social media marketing, mas bands, fete promoters, and tourism boards have turned to influencers and content creators to extend their reach.

Global Carnivalist, affectionately called “Globey”

From curating outfits for fetes to selecting the perfect shoes for days on the road, every detail counts

Courtesy Global Carnivalist

Bahamianista recalls her first partnership with a band in St Lucia that wanted a comprehensive review of their carnival experience. “They covered everything but the flight, and that partnership really opened doors for the collaborations I have today,” she shared.

As a full-time occupational therapist, she manages to attend four to five carnivals a year, many of which are sponsored trips.

“A lot of it is either contracted or by invitation from a tourist board or band. I try to do at least one carnival alone to keep it authentic for myself,” she added, noting that Brazil and Curaçao are on her bucket list.

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Crista Strachan is Bahamianista

A year in the life of carnival creators For serious carnivalists, preparation begins months in advance. From curating outfits for fetes to selecting the perfect shoes for days on the road, every detail counts. Fitness is also key to enduring hours of dancing and parading.

“I go to the gym five days a week for my health.

I don’t play with my body,” said Globey. “For carnival, though, I work out to get my stamina up and to ensure my legs are prepared — because I play mas in six-inch heels.” She uses Pinterest to plan her looks and decides on hairstyles based on the destination’s weather.

Bahamianista immerses herself in the culture to ensure her content resonates. “I kind of obsess about it. I work out to prepare my stamina, I try to listen and learn the new music, to be in the know because when you press publish you want to connect to the locals so the content does well,” she explained.

Global Carnivalist began securing partnerships two years into her blogging journey. By 2019, she was attending up to 10 carnivals annually. Although she books many trips independently, she also pitches to tourism boards to gain a broader understanding of each destination.

She sees her role akin to that of a customer service representative. “We provide that link between the band and consumer. I have to do research on everything, look at back data, check the spellings, etc. People come to me with about 40 questions,” she explained.

For Everyting Sim Simma, partnerships have naturally evolved, including being part of press trips for Grenada’s Spice Mas. “It was wonderful because Jab Jab, which is rooted in resistance, aligns with my research. Some other carnivals I attend just happen naturally, like St Kitts Sugar Mas or Nevis’ Culturama, which are home events for me,” she said.

Chavy, who recently took a break to deal with his mental health, was invited to his first Crop Over in Barbados by a carnival concierge company. “She had a fascination with how I show my experiences authentically,” he explains. “I didn’t know carnival content creation was a thing at the time. I was just grateful to work with somebody in that space. I loved it and thought this could be something. I just considered myself someone who had a fascination with carnival and showcasing it.”

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Courtesy @Chavdakid

Courtesy Crista Strachan

“You see the trends if you are paying attention,” she said, noting a decline in interest in particular carnivals due to the increasing expenses

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As creators, if we don’t take the time to sit and explain, they think Carnival is just a feathers and beads affair”

Red devils at the pre-lenten Martinique Carnival

Courtesy @everytingsimsimma Simone Mills

The future of carnival content creation

St Kitts & Nevis-born creator Everyting Sim Simma

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As social media continues to evolve, so do the strategies of carnival content creators.

Platforms like TikTok are now leading the charge, requiring constant adaptation.

Analytics play a critical role in helping creators like Globey identify trends and adjust their content strategies.

“You see the trends if you are paying attention,” she said, noting a decline in interest in particular carnivals due to the increasing expenses. “People want value where they could get more for their money, so giving them information on where they can go, where they can eat, experiences they can have beyond the carnival helps,” she said.

With a solutions-oriented approach, Bahamianista aims to offer alternatives for budget-conscious carnival-goers, while Everyting Sim Simma plans to delve deeper into the cultural and historical aspects of carnival.

With their passion and dedication, these carnival content creators are ensuring that the essence of the celebration is captured authentically for audiences worldwide. n

T photography/Shutterstock.com

However, with the desire to showcase Caribbean carnival’s beauty comes a sense of responsibility. Many creators are mindful of not reducing it to mere aesthetics for social media.

“I feel guilty sometimes,” said Bahamianista. “I wonder if my content is helping or hurting. Businesses want the content and marketing, so the challenge is how do I help someone innovating the culture without making it too sensational? … As creators, if we don’t take the time to sit and explain, they think it is just a feathers and beads affair.”

Chavy is intentional about not oversexualising his content.

“The experience of carnival is the good, bad and ugly, and the ability to showcase that [creatively] in its authentic form is a rare thing. One of my pet peeves is how oversexualised Carnival has become. It is something I try my hardest not to add to, and that comes down to small things like the choice of music I use, the kind of editing style …

“I don’t focus on people wining so much,” he says. “Soca music is such a breathtaking experience, and to absorb yourself in the beauty of the song only for it to come down to how somebody’s waistline moves is a disservice.”

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bucket list

Go with the flow Waterfalls are among the most stunning natural spots to explore in the Caribbean. Shelly-Ann Inniss picks six for your bucket list, hoping your experiences are just like them — blissful, memorable, and sublime!

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Saut du Gendarme, Martinique Moderate

harith/Alamy Stock Photo

How did these 33ft falls in the heart of Fonds Saint-Denis get their name? One legend claims a paramilitary policeman (gendarme) fell while climbing — or while his horse was drinking. Regardless, canyoning here — a mixture of hiking, climbing, and abseiling (but no falling) — through rugged terrain brings a sense of accomplishment … and a whole lot of fun! Alternatively, you can access the steep walkway and stairs via a small bridge on a trail shaded by ferns and bamboo.

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Dark View Falls, SVG Moderate

mbrand85/Shutterstock.com

Despite the ominous name, these two heavenly waterfalls — one above the other, with natural pools at the base of each — are surrounded by gorgeous flowers, whizzing agouti, and exotic birds. Nestled within St Vincent & the Grenadines’ La Soufrière National Park — home to the active 4,052ft La Soufrière volcano, the island’s highest peak — a bamboo bridge across the Richmond River tributary connects visitors to the falls and a picturesque bamboo grove. A viewing platform opposite offers the perfect vantage point for a stunning photo.

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Deshaies Waterfall, Guadeloupe A stroll

Ray.Lab/Shutterstock.com

Fun fact: the town of Deshaies is the fictional town of Honoré, Saint Marie, where the British-French television comedy-drama series Death in Paradise was set. The five-hectare Deshaies Botanical Garden, housing this enchanting artificial waterfall near a banyan tree, is very popular — along with other charms in the 15 themed sections of this botanical oasis. Nature lovers can explore the grounds and discover over 1,000 species of tropical plants, varieties of fish, and birds (including pink flamingos).

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Vegas Grandes, Cuba Moderate/intermediate

ajscuba/Alamy Stock Photo

Topes de Callantes Nature Reserve in central Cuba boasts two popular waterfalls: Salto del Caburni and Vegas Grandes (where a cave across the river feeding the waterfall is one of the attractions). While making the steep ascent through some dense vegetation, you can take in enchanting birdsong, a canyon, lagoons, and an amazing lookout featuring views of the Escambray mountain range. A cool dip in Vegas Grandes’ pristine plunge pool make it worth every step!

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Tips & tricks • Apply sunscreen and mosquito repellent • Wear sturdy shoes with good grips • Enlist reputable tour guides • Hydrate!

• Entry fees might be required • Pack towels and a change of clothes.

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Blue Hole, Jamaica Short walk

Mehdi Kasumov/Shutterstock.com

Time could stand still at this hidden gem in the hills of Ocho Rios — but it won’t. Limestone sinkholes filled with shimmering turquoise water invite anyone to venture in. Climbing the falls; cliffjumping (local guides will indicate the safe spots); gliding down the nature-made waterslides; or swinging from a rope into the 20ft pool all provide no end of thrills for adventure-seekers … or, you could just relish relaxing on the rocks, surrounded by verdant foliage. Be sure to stand under the falls for a natural massage — and then investigate the small caves behind them!

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Trafalgar Falls, Dominica Easy walk

Rafal Michal Gadomski/Shutterstock.com

You can find this magnificent, easily accessible double waterfall — affectionately called Mama (75ft) and Papa (125ft) — tucked away in the Morne Trois Pitons National Park. The park is a UNESCO World Heritage Site, featuring a mosaic of vegetation and volcanic features like hot springs and cool pools. A viewing platform offers panoramic vistas of this cozy pair of falls — one of the Nature Island’s many wonders.

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snapshot

Kalinago queen

Paul Crask

The remarkable Anette ThomasSanford was elected as Dominica’s first female Kalinago Chief last July for a five-year term. Paul Crask learns more about her deep commitment to the development and preservation of her people, culture, and the Kalinago Territory

O

n 22 July last year, Anette Thomas-Sanford made history as the first woman elected Chief of Dominica’s Kalinago Territory.

I catch up with her beneath the karbet at the Kalinago Barana Auté cultural site in Crayfish River, one of the eight hamlets of the 1,580-hectare semi-autonomous region on Dominica’s rugged east coast.

She looks elegant, her sunflower yellow dress glowing brightly in the morning light. I’d suggested a casual meeting rather than anything formal, so when she places a rather ornate and beautiful handmade feather crown on her head, we fall about laughing. It’s perfect.

Anette’s easy-going nature masks a busy and often difficult life, and her slight, almost fragile frame conceals a remarkably

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strong and resolute character. Now 42, married with three children, she grew up in the hamlet of Sineku at the southern margin of the Kalinago Territory. Her mother died when she was seven years old, and her father — a farmer — did his best to provide for the family.

“My siblings and I were all quite bright when it came to study, but we didn’t have the same access to books and other resources as other kids. So, it was difficult to keep up,” she remembers.

“My two sisters dropped out to help in the home, and those of us lucky enough to stay in school took our education very seriously.”

At the time, Sineku was viewed as a relative backwater in the Territory, with poverty and social issues such as delinquency, teenage pregnancy, and drugs ever present. As a result, Sineku people were somewhat stigmatised, which made growing up there even harder.

Today, the social and financial challenges for many Kalinago families across the Territory are similar, though international organisations such as the World Bank and European Commission have at least been able to finance the construction of improved housing.

“When you pass through the Territory, you’ll see better homes than in those days. But beyond the attractive façade, social issues remain,” she explains. “There’s still an inability for many families to make ends meet, pay for their children’s schoolbooks, uniforms, and so on. Poverty is ever present. So, I think the biggest challenge for us right now is how to improve our economy.”

Discover Dominica

The Kalinago Barana Aute has a Carib model village featuring thatched-roof huts, communal meeting spaces, and a craft centre where visitors can purchase souvenirs

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stablished by the Kalinago Act in 1903, the Territory currently has around 2,500 permanent residents. It’s administered by the Kalinago Council, Kalinago Chief, and a parliamentary representative. The Kalinago Act determined that all lands within the Territory remain communal, so no individual has the right of ownership. In a contemporary context, this presents problems.

“People in the Territory cannot go to a bank, present their land title, and apply for a loan to send their children to study, kick-start a business, or improve their home. No access to credit means that families here are left behind. It’s a huge challenge for us,” Anette says.

“Discussions are taking place within the communities about amending the Act in this regard, but there are advantages and disadvantages to doing so. I think that perhaps the best solution is to try to create and fund a credit organisation of our own within the Territory,” she continues.

“But, of course, in a similar way to any bank, this would require significant funding, transaction policies, regulation, and so on. But in the event of repossession, land would default back to the Kalinago Council rather than to any outside organisation.

In this way, the principle and integrity of shared ownership of Territory land would, albeit in a slightly different way, remain.”

At school, Anette aspired to become a doctor. But scholarships were hard to come by, so she trained and worked as a nurse. Then came a spell in politics where, despite losing her constituency election, she entered parliament as an opposition senator.

After her party refused to contest the 2022 snap general election, Anette left politics and focused instead on developing projects in the Territory via a non-government organisation.

Despite her previous political affiliation, she won the 2024 Kalinago Chief election with 57% of the popular vote.

“I think people have seen enough of what I’ve been doing to understand that I want to help all Kalinago people, and that my work transcends red and blue politics,” she says, referencing colours associated with two of the island’s major political parties.

Portsmouth Marigot Kalinago Territory d o minica

Roseau

Soufriere

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Paul Crask

Anette Thomas-Sanford at her historic inauguration ceremony

“With such a small population, I believe such divisive politics is detrimental to our situation and, in the future, I’d like to see the Kalinago Chief in parliament instead of a constituency politician. We’re stronger as a people if we’re together as a people. But it’s not always easy to overcome this. It’s a sad fact that how you vote can influence your personal circumstances.”

T

he Kalinago Territory is unique in the Caribbean, contributing to Dominica’s complex and fluid cultural identity as a developing, independent nation. Like other islands, most of Dominica’s population is descended from Africans who were enslaved by Europeans. However, a minority are descendants of the Indigenous people who inhabited the island before Columbus arrived.

“I suppose I see myself first as Kalinago, and second as Dominican,” she says. “As Indigenous people, we’re a minority. And I think that to retain our identity, it’s important to stand up for who we are and have a voice both at home and abroad.

“There are Kalinago professionals who are doing well, and the President of Dominica [Sylvanie Burton] is not only Kalinago, but also a woman,” she says. “So, we’re pushing through barriers and must continue to do so. I think it would be great for Dominica to revert to its Indigenous name, Wai’tukubuli, and I’d support anyone who pushed for that — though given all the other challenges we face, it’s probably quite far down my list right now.

“It’s important for us to connect and network with other Indigenous people in the Caribbean and Americas and I’ve already started to do that,” she continues. “I think cultural exchange visits would be especially beneficial to Kalinago

people. But we must try to fund this kind of activity by our own means rather than rely on government assistance. I believe there are organisations out there that can help us with this.”

When we were trying to organise our meeting, she hinted that since her inauguration, she’d been so busy that she’d barely had time to relax. Despite her obvious inner strength, I wonder how she plans to balance all the life and work demands over her five-year term.

“It’s true that my life has been pretty hectic lately,” she says.

“But I’m learning to organise my time. I try to keep Sundays completely free for my family, and spending quality time with my children helps me to unwind — as does working on our little farm where I’m planting fruits and flowers. When I go there, it’s my quiet time and I can let go all the stresses of the week.”

T here’s no doubt t hat Anette has her work cut out, and negotiating the multitude of hurdles ahead will be difficult. At the end of her term in office, I ask how she hopes the Kalinago Territory will have changed.

“I’m hoping to see infrastructural improvements, but the biggest priority would be to see families more able to provide for and sustain themselves,” she says. “I’d like farmers to be doing well and for the Territory to have new agro-processing enterprises, providing farmers with a market as well as being successful in their own right.

“I’d like us to establish more cross-community cultural activities, such as the enhancement of Kalinago Week, and I’d like Dominica and the Caribbean region to recognise and get to know more about the Kalinago people. We survived, we’re here, and we’re alive. The spirits of our ancestors live within us, and we have a story that is still unfolding.” n

I’d like Dominica and the Caribbean region to recognise and get to know more about the Kalinago people

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backstory

Kwik, kwak, catharsis

I

“

di kwik!” says the storyteller.

(Then you, the reader, must take on the responsibility of being the audience. You respond, “kwak”.)

And so, the story can begin.

The written word is not the traditional format for this type of Caribbean storytelling, but here we must make do.

Kwik-kwak, as it is known in French Creole (or crick-crack in the anglicised form), is a call and response that establishes the agreement between the storyteller and their audience to actively participate in the sharing of some piece of oral history.

This is a tradition that came across to the Caribbean from the griots of West Africa, who had the vital role of passing down shared knowledge and culture through poetry, song, jokes, and stories.

Nowadays, it is not as widespread as it used to be, but there are still pockets all across the region where this type of communal tradition can be found.

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Dr Raymond Travis Weekes is one of the creative minds attempting to preserve and share this type of cultural heritage for a new generation. Dr Weekes is a child of the theatre — he grew up in St Lucia watching the work of his father Alan Weekes and the rest of the St Lucia Arts Guild, including twin brothers Roderick and Derek Walcott.

Even when Derek (a Nobel laureate) left — first to study in Jamaica and then to settle in Trinidad — the Walcott brothers’ writing was instrumental to the theatre space of St Lucia and to Weekes’ upbringing.

“They were really thinking of the development of a Caribbean theatre aesthetic … the kind of theatre that would reflect the Caribbean language and culture and concerns as different from the inherited theatre from the West — the European theatre brought by the colonisers,” he says.

For the Walcott brothers and their cohorts, there was a preoccupation with reflecting back to us the cultural forms

Courtesy Damir Ali

St Lucian playwright, poet, director and educator Raymond Travis Weekes talks to Amy Li Baksh about his passion for bringing Kwéyòl and Patois to Caribbean theatre, and using regional artforms to explore our history and culture on stage — all as a process of liberation

and rituals that our ancestors had brought with them from across the world, and that had morphed over time into something truly Caribbean.

In our postcolonial space, we bear the trauma of having much of our history and culture stripped away and replaced by the Eurocentric ideal of what art and music and theatre should look like. But reconnecting to these rituals can be a healing process.

Dr Raymond Travis Weekes

The more we learn about our cultural history and identity, the more we are empowered to reimagine what a Caribbean future can look like

I

t is this legacy that Weekes has hoped to continue in his work, which took him to the Jamaica School of Drama, into a degree in the arts at The University of the West Indies (UWI) Mona, back to St Lucia to their Folk Research Centre, across to Barbados for postgraduate studies in Creole traditions, and now to his base in Trinidad & Tobago at the Department of Creative & Festival Arts at The UWI St Augustine campus.

But long before his university studies, his childhood excursions — through his father’s work in the theatre — had taken Dr Weekes all across the Caribbean. The elder Weekes was translating some of Walcott’s plays into Kwéyòl (St Lucian Creole), and his son accompanied him to Martinique and Guadeloupe, where they were staged.

The younger Weekes has continued on this mission with his own work, like his

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Courtesy Dr Raymond Travis Weekes

Courtesy Dr Raymond Travis Weekes

Above Allan Weekes and playwright Roderick Walcott Right Sir Derek Walcott and Dr Weekes at Alliance Française Below Dr Weekes oversees a scene at the Department of Creative & Festival Arts, UWI St Augustine

Courtesy Damir Ali

play A Fight For Belle Vue, which incorporates Kwéyòl, drumming, folk singing and dancing, and the character of the Konté (the traditional St Lucian name for the lead singer or storyteller).

Weekes recently directed a production of Sunday with the Warlord, a play on calypsonian Lord Blakie written by Dawad Philip that explores the idea of celebrating our cultural traditions and heritage.

I visited a rehearsal a few days before opening night. Like any theatre production

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in the final moments of preparation, the energy was tense, and everyone was deeply focused on getting the finishing touches right. But Weekes is relaxed, and as an actor flubs a line and apologises to him, he simply laughs warmly.

A few nights later, with the audience packed into Queen’s Hall, the play is transformed by the one element missing from the rehearsal — the audience. It’s

B

ringing to the stage and the page these elements of our culture is Weekes’ way of celebrating the magic and resilience of Caribbean people.

“The literary artists and the fine artists — those in the arts in the Caribbean — are really standing on the shoulders of the ordinary folk … who have not allowed the process of colonisation to take them over completely,” he says.

It is not only a means of preserving these traditions — but of exploring and transforming them something he talks about often in his work. “The transfer of music from the oral tradition to the stage utilises the call and response structure typical of Caribbean folk songs, that invites audience interaction,” he explains.

His stories tell of the trials of workingclass people, who also act as the guardians of our cultural traditions. They speak the language that evolved here, and tell stories that were passed down through generations. It is not only a means of preserving these traditions — but of exploring and transforming them.

For Weekes, Creole theatre is a way to utilise these cultural forms to “create spaces for catharsis”, as he puts it. It is a form of what he calls “psychological liberation”, to embrace, celebrate and put to use these elements of our culture for healing the collective trauma of our colonial past.

Through his teaching work and his own writing, Dr Weekes has dedicated much of his life to bringing Kwéyòl to the theatre and rekindling our collective relationship to these types of artforms.

As he notes in his book, “representation is power”— and the more we learn about our cultural history and identity, the more we are empowered to reimagine what a Caribbean future can look like. n

closeup

Celebrated, prize-winning Jamaican writer and educator Safiya Sinclair talks to Fayola Fraser about her unique journey — from being raised in a strict Rastafarian household, to walking now with a confidence and pride that’s come from years of “digging up in the roots … hoping to make something bloom”

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Beowulf Sheehan Courtesy Simon & Schuster

No weak heart

“There was more than one way to be lost. More than one way to be saved. While my mother had saved me from the waves and gave me breath, my father had tried to save me only by suffocation. With ever increasing strictures, with incense smoke, with fire. Both had wanted better for me, but only one of them would protect me in the end.”

Safiya Sinclair, How to Say Babylon

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ow an adult, many years and miles removed from that childhood, what does Sinclair still carry with her in the world? “I remain really grateful for a family that instilled in us a militant sense of Black pride,” she says. “It really gave

Wikimedia Commons

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eleased in 2023, How to Say Babylon — winner of the National Book Critics Circle Award in Autobiography and the OCM Bocas Prize for Caribbean Literature, among many other commendations — gives an honest, raw, intimate look at Safiya Sinclair’s journey from a conservative Rastafarian household in Jamaica, to a Black woman navigating the world with pride and courage.

As we connect in the heart of Port of Spain during the 2024 Bocas Lit Fest, she reflects on the challenges she faced not only in finding her own voice and claiming her own narrative, but on how her life has shaped her writing — and how her writing has, in turn, shaped her life.

Born in Montego Bay in 1984, Sinclair was raised in a strict Rastafarian home where, as she recounts in her book, her father was steadfastly devoted to Rastafari — “with a strict binary of rules by which he measured everything … what was righteous and blessed and who was a heathen.”

Rastafarianism, one of the world’s youngest religions, emerged in 1930s Jamaica — inspired by growing Afrocentric consciousness and by the teachings of inimitable Jamaican activist Marcus Garvey. Rastas fall into one of the various denominations or subsects — “Mansions of Rastafari” — like the Nyahbinghi Order, Bobo Ashanti, or Twelve Tribes of Israel.

These beliefs governed Sinclair’s life — from her dress to her diet, speech, actions, and even her thoughts — making her “petrified of becoming unclean.” A core tenet of Rastafari is the delegitimisation of “Babylon” — any manifestation of oppression and exploitation that Africans faced under colonialism and its legacies — and, conversely, the revitalisation of African culture and sensibilities in the African diaspora.

It is this very concept of Babylon “that shaped so much of my life growing up,” Sinclair recounts. “You’re either with us … or you’re Babylon.” As not only the head of the household but the spiritual guide, her father considered his role as the chief defender of the family against Babylon.

It was this constant struggle of balancing the weight of her religious inheritance against the deep and burgeoning fear of being captured in Babylon’s grips that shaped Sinclair’s formative years and inspired the fitting title of her memoir.

my siblings and I the tools we needed to walk through the world, confident in our Blackness.”

Upon leaving Jamaica and migrating to the United States (she completed a PhD in literature and creative writing from the University of Southern California and is now an associate professor of creative writing at Arizona State University), she developed a new understanding of and appreciation for the “armour” — and pride — that she had been given.

Sinclair navigates the world now with what she describes as a “decolonial sensibility”, where she uses the “coloniser’s language” in her poetry and prose to create a rippling, indelible impact.

“I felt as though my life didn’t belong to me. I wanted to choose for myself what woman I would become next” Many people unfamiliar with Rastafarianism are unaware of its contentious history within Jamaican society. Prior to its integration into popular culture — through the music of Bob Marley and others — Rastafarians did not only struggle to gain legitimacy but were considered outcasts, and deliberately marginalised from mainstream Jamaican society.

Sinclair attended a private, majority White high school — St James College in Montego Bay, where she was not only exposed to a world outside of her strict family home, but came face to face with the whisperings of Babylon. She recalls feeling “immediately outcast, not only by the White girls, but by my Black Jamaican teachers who did not welcome me because I was Rastafari”.

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At 11 years old, this new school incited a creeping shame, a newfound shyness and discontent, causing her to feel as though “the sunlight that was within me went out little by little”.

“As Black women, there is so much history and identity wrapped up in our hair,” she says, remembering the moment she decided at 19 to have her locs shorn. The decision came from the heaviness of the emotional weight her hair held after many years of tussling with Rastafari — along with the consistent teasing and taunting.

It was a symbolic break from Rastafari — and in many ways, her father. “I felt as though my life didn’t belong to me. I wanted to choose for myself what woman I would become next,” she remembers.

Seeking comfort during those arduous teenage years, her passion for language and writing began to germinate. How To Say Babylon — listed as one of the best books of 2023 by The New York Times, Time, The Washington Post, Vulture, Shelf Awareness, Goodreads, Esquire, The Atlantic, NPR, and Barack Obama — is a testament to that passion and talent.

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Wikimedia Commons

illed with delicious, poetic prose, this insight into a difficult childhood — beatings, punishment, and retribution — becomes a gripping tale of overcoming. She initially began writing the book in 2013, and describes the process as an unearthing — “a digging up in the roots of that old garden, hoping to make something bloom”.

Courtesy Safiya Sinclair

When she returned home years later, her experience doing a poetry reading in front of an audience — including her father — was her catharsis. Describing that moment and the embrace from him that followed as a “release”, she finally found her place of safety from which she could begin penning her story.

Sinclair says she didn’t just write this book for herself, but for people to better understand her country. She hopes to shine light on what has long been a persecuted Rastafarian minority, remembering that she and her siblings were some of the first Rasta children to integrate public schools in Jamaica.

Safiya in eleventh grade with locs

Through it, she found common ground with her parents — similarities even she did not realise existed until then. “With my mother, I could see that our love of words, our love of language is what binds us,” she says. The fact that she blossomed into a poet was due in no small part to her mother’s influence.

Although it is clear in the book that her relationship with her father growing up was tenuous and difficult, she says, “I’m that rebellious and fiery because of him.” Her journey as an adult, then, has been about striking the beautiful balance — finding the sweet spot — between her mother’s nurturing softness and her father’s incandescent fire.

The pages of her book are not interlaced with anger, resentment, or rooted in spite. They simply recount her life’s experiences.

She recalls the best advice she received was from a professor, who encouraged her to “write this book from a place of safety”.

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Her journey has been about striking the beautiful balance between her mother’s nurturing softness and her father’s incandescent fire “My father didn’t raise no weak heart,” she continues. Her courage and self-belief have become part of her legacy, diversifying the portrait of Caribbean womanhood, and imparting her own healing fire through every word.

With How to Say Babylon, Safiya Sinclair has given Caribbean women the permission to authentically examine their pasts and determine their futures, asserting themselves confidently in a world not originally designed for them.

In sharing her story, she has crafted a new framework for our women to earnestly believe that their dreams can be limitless, and that power is theirs to harness. n

Jeremy Graham/Alamy Stock Photo

escape

Courtesy Antigua & Barbuda Tourism Authority

Antigua & Barbuda calling It’s the start of a new year, and a great time to plan your sweet escapes over the next 12 months.

Whether you’re planning a quick weekend getaway, a week of relaxation, or something longer, Antigua & Barbuda have got just what you need …

Every tourist guide will tell you there are 365 distinct beaches in Antigua, one for each day of the year. They’re a magnet for adventurous sun-seekers and Vitamin Sea devotees of all ages. And we haven’t even talked Barbuda yet.

In Antigua alone, there’s worldfamous Half Moon Bay on the east coast; secluded Rendezvous Bay in the southwest; ever-popular Dickenson Bay with its restaurants and nightspots . . .

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sunbathing: they’re perfect to try ziplining or windsurfing, or — more sedately — paddleboarding and snorkelling.

Tour the many islets off Antigua’s northeast coast on a catamaran cruise (sunset ones are our favourites); explore the reefs and other undersea formations at Cades or Sunken Rock; and be sure to allow a day or two to just soak in the rays, with cocktail in hand and sunglasses firmly in place.

Make sure to leave some time for the historic sites around English

Harbour, shopping in St John’s, and exploring the rolling countryside of the interior.

A short plane or ferry ride away to the north is Barbuda, Antigua’s sister island. A truly undiscovered gem, this sparsely populated island is well worth a day trip (ideally, much more). Don’t miss the frigate bird sanctuary (host to one of the largest populations of nesting frigate birds in the world), and the dramatic 17-mile stretch of pink sand beach that separates the Barbuda lagoon from the Caribbean Sea. n

January

AUA ROHRMAN TRAIL & SWIM FEST

ANTIGUA AND BARBUDA WELLNESS MONTH

19 – 20 April www.facebook.com/ AntiguaBarbudaTriathlon

ONE NATION MUSIC FESTIVAL

ANTIGUA AND BARBUDA INTERNATIONAL KITE FESTIVAL

www.visitantiguabarbuda.com

11th - 12th January

TALISKER WHISKY ATLANTIC ROWING CHALLENGE

www.worldstoughestrow.com

February JOLLY HARBOUR VALENTINE’S REGATTA 7 - 9 February www.jhycantigua.com th

th

RORC NELSON’S CUP SERIES

18th - 21st February www.rorc.org/rorc-nelsonscup-series-racing-rum-andrevelling

ROYAL OCEANIC RACE CLUB (RORC) CARIBBEAN 600 RACE

24th - 28th February www.caribbean600.rorc.org

March 13TH SUPERYACHT CHALLENGE

4th - 11th March www.superyachtchallenge antigua.com

SOOTHE: A NIGHT OF NEO-SOUL, JAZZ RHYTHMS, AND SPOKEN WORDS

15 March www.facebook.com/soothelounge th

April OYSTER REGATTA

7th - 11th April www.oysteryachts.com/events/ oyster-world-rally-2024-25/

GARD CENTER FARM TO TABLE FUNDRAISING LUNCHEON 12th April

ANTIGUA CLASSIC YACHT REGATTA

16th - 21st April www.antiguaclassics.com

th

th

21st April www.facebook.com/CPKites

PETERS & MAY ROUND ANTIGUA RACE 26th April www.sailingweek.com/ roundantiguarace/

ANTIGUA SAILING WEEK 27th April – May 2nd www.sailingweek.com

May ANTIGUA AND BARBUDA CULINARY MONTH DOCKYARD DAY 3rd May

FOOD, ART, AND BEVERAGE FESTIVAL 4th May www.antiguabarbuda restaurantweek.com

ANTIGUA AND BARBUDA RESTAURANT WEEK

4th – 18th May www.antiguabarbuda restaurantweek.com

CHTA CARIBBEAN TRAVEL MARKETPLACE 18th – 22nd May

RUN IN PARADISE 25th May www.facebook.com/ runinparadise

June ANTIGUA AND BARBUDA ROMANCE MONTH www.antiguaandbarbuda romance.com

BARBUDA’S CARIBANA

4th – 9th June www.visitantiguabarbuda.com

ANNUAL ANTIGUA AND BARBUDA SPORTS FISHING TOURNAMENT

5th - 8th June www.antiguabarbudasports fishing.com

July ANTIGUA CARNIVAL: THE CARIBBEAN’S GREATEST SUMMER FESTIVAL

25th July – 5th August www.visitantiguabarbuda.com

August CARNIVAL MONDAY

2025

DESTINATION EVENTS CALENDAR

4th August www.visitantiguabarbuda.com

CARNIVAL TUESDAY

5th August www.antiguacarnival.com

URLINGS SEAFOOD FESTIVAL 10th August

ANUCON

16th – 17th August www.anucon268.com

September NELSON’S DOCKYARD CELEBRATES 300 YEARS

ANTIGUA AND BARBUDA ART WEEK

26th November – 2nd December www.visitantiguabarbuda.com

GEMONTIES MOODS OF PAN FESTIVAL 28th - 30th November

WORLD WELLNESS WEEKEND CELEBRATIONS

ANTIGUA AND BARBUDA TOURISM WEEK

DEJAM FESTIVAL

December

19th – 21st September

22nd - 29th September www.dejamfestival.org/

FRANCIS NUNES JR. MEMORIAL FISHING TOURNAMENT & SEAFOOD FESTIVAL

26th - 27th September www.antiguabarbuda sportsfishing.com

October ANTIGUA AND BARBUDA’S INDEPENDENCE CELEBRATIONS BEGIN

November

ANTIGUA CHARTER YACHT SHOW

www.antiguayachtshow.com

VEGGIE ROOTS AND CULTURE FEST 7th December

NELSON’S DOCKYARD CHRISTMAS DAY PARTY

25th December www.nationalparksantigua.com

NELSON’S DOCKYARD OLD YEARS NIGHT PARTY

31st December www.nationalparksantigua.com

ANTIGUA AND BARBUDA’S INDEPENDENCE DAY 1st November

INDEPENDENCE FOOD FAIR 1st November

THE BEST IN THE WEST FISHING TOURNAMENT

www.facebook.com/BestInThe WestSportsFishingTournament

www.visitantiguabarbuda.com

inspire

She found her roots in St Lucia Giselle Laronde-West meets Alcina Nolley — the versatile, octogenarian American artist of St Lucian and Kittitian heritage who found beauty, inspiration, and a home in the Helen of the West Indies Photography courtesy Alcina Nolley

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ften, you read stories of Caribbean artists who have lived and studied abroad, and are in North America or Europe developing their craft, exhibiting and lecturing in celebrated art galleries and universities. Alcina Nolley, meanwhile, was born in 1940 in Buffalo, New York, to a father of St Lucian heritage and a mother with St Kitts ancestry — then made her way back to beautiful St Lucia, where she

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lives and paints in what she calls paradise.

Nolley earned a Bachelor of Arts degree in 1964 from the State University of New York at Buffalo, studying everything from sculpture, to crafts, jewellery-making and music, but did not take a single painting class. After graduating, though, she felt she had a passion for painting — and read every book on painting she could find, while applying the design principles she had learnt and teaching herself to paint.

She took classes with other artists, and some adult art classes at a university, and began to paint with oils.

Unfortunately, she found herself allergic to turpentine so switched to acrylics before a paint manufacturer developed walnut-based oil paints and solvents, allowing her to return to her oils and easel. Soon after, with the introduction of the Apple computer, Nolley learned to paint digitally too, producing digital files that could be printed.

Opposite page, top Fresh coconuts.

Oil on canvas 12x12 Opposite page, bottom The lady and her flowers. Oil on canvas 20x20 Right Beach at Laborie. Oil on canvas 10x12. Plein Air Bottom left Beach at Pigeon Island Causeway. Oil on canvas 12x12. Plein Air Bottom right Portrait of a young girl.

Oil on canvas 12x12

Ironically, Nolley did not actually visit her father’s island, St Lucia, until 1983. Yet this is where she found inspiration — and she knew this because every painting she created after that and each subsequent visit sold like hot cakes wherever she exhibited. So, she moved to St Lucia permanently in 1992 with her family.

Since blossoming in “The Helen of the West Indies”, Nolley — who now has over 20 honours and awards to her name — has participated in a few CARIFESTAs (Caribbean Festival of Arts); juried over 30 exhibitions around the world; and done two individual exhibitions in Jamaica and California (USA), and two group exhibitions in Barbados.

After retiring from teaching (she also taught high school art at CXC level for three years in St Lucia), oil on canvas was her primary form of expression. But at the classes she tutored, she exposed her students to acrylics as well.

She has a passion for painting on location or from photos she takes all over St Lucia, and she was instrumental in getting artists in St Lucia to appreciate plein air painting (the practice of creating artwork outdoors directly from nature). She prefers realism, relying on simplified compositions.

“I was lucky to be able to design and build my home,” she says, “so of course I have a patio with a 180-degree view facing directly west, offering the most spectacular sunsets, and a large studio — fully equipped for painting!”

It also allows for printing and crafting, and is equipped with a jewellery bench, kilns, and the like, to accommodate her many talents — making jewellery, Christmas decorations, and painted bottles in which she sells vanilla. Her sculpting training allows her to add sculpture to some of her jewellery and crafts.

This year, Nolley will celebrate 65 years of marriage to her husband (who doubles as her frame maker), with whom she has a son and a daughter. She also

takes pride in the successes her students have made in life. She has sage advice for young creatives as well.

“Keep working at your skill, keep seeking advice and knowledge about painting anywhere you can get it — from books, YouTube, TV, seasoned artists,” she says.

“Go to art shows, to museums, seminars, classes. Education and skill-building should be continuous — you never know when someone will mention something that is the answer to your needs.”

Nolley notes that St Lucia does not have much fine art for sale in the tourist shops, and there is only one art gallery (which does not have exhibitions anymore). She hopes that things change in the future. But in the meantime, she exhibits and sells her work at various venues on the island.

As she talks about her days painting while stroking her dog Zumi, she says,

“Painting from life, rather than photos, and outdoors is the ultimate way of transferring the emotion and character of the objects, the place, and of the moment. The real sun, wind, shadows, smells and textures are conveyed when I paint from life.”

W hen asked whether she always reflects St Lucia in her art, she responds, “I must say, my art would not be without St Lucia! I marvel daily at the waving branches of the banana trees, the towering coconut palms, the beautiful green mountains in the distance from our house. It’s a lush island. Nature is good to us, so why not capture it?”

She proclaims that she will continue to paint as long as her hands will allow it. May that be for a long time to come. n For more on Alcina and her work, visit www.alcinanolley.com WWW.CARIBBEAN-AIRLINES.COM

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on this day

Of eccentricity and resilience From a stylish, luxurious family mansion constructed in a distinctly Haitian style, to a hotel attracting top artists and visitors from around the world, and an iconic survivor of the 2010 earthquake, James Ferguson looks back at the storied history of Haiti’s Hotel Oloffson

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n Haiti today, gang warfare and the collapse of government has created a human rights crisis of huge proportions. Add to the present violence longstanding issues of poverty and environmental degradation — with the lasting impacts of colonialism — and it becomes clear that the once proud standard bearer of Caribbean freedom is in deep trouble.

Not surprisingly, the country’s tourist industry no longer functions. The capital, Port-au-Prince, is off limits, and visitors are warned to stay away. It is all the more poignant — but perhaps valuable — to recall that Haiti was once, and in living memory, a byword for Caribbean tourism and hospitality. Documentaries from the 1950s and 1960s promoted the country as a welcoming and glamorous destination, rich in culture.

Introduction to Haiti depicts a clean and orderly Port-au-Prince, highlighting its gleaming white presidential palace and its imposing cathedral, its bustling covered market and its teaching hospital. None of these structures survives today, most having succumbed to the devastating earthquake of January 2010.

Of all Haiti’s disasters, the earthquake was the most destructive — reducing much of Port-au-Prince to rubble within seconds. And yet one building, which was

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central to the short-lived belle epoque of the mid-20th century, survived almost unscathed: the iconic Hotel Oloffson.

This urban landmark, constructed largely of wood and brick, remained standing while modern concrete buildings around collapsed. It is still intact, surrounded by the ruined landscape of the city.

The Oloffson was not always a hotel.

Its splendour reflects the prestige of its original owners, and a fine example of an architectural trend that is particularly Haitian. Its construction was commissioned in 1896 by Demosthenes Simon Sam — scion of a dynasty of political heavyweights, and son of Tirésias Simon Sam (Haiti’s president, 1896–1902).

Situated in the upmarket Pacot district, the family home was close to the centre of government, but luxuriously spacious and set in tropical gardens. It was also beautifully ornate, resplendent with wooden fretwork and latticework decorating its large doors and windows, its porches and open verandas.

The style would later be known in the 1950s as Gingerbread. But when the Oloffson was designed, it drew on trends popularised in the United States during the 1860s and 1870s — now categorised as Carpenter Gothic, due to the elaborate woodwork.

Gingerbread architecture can be found across the Caribbean (Trinidad, Martinique, and others). But Port-au-Prince had an unusual concentration of mansions built in this style for wealthy families by craftsmen influenced by techniques in America or Europe.

The Sams’ occupation of the house came to an abrupt end when Tirésias’ son, President Vilbrun Sam, was murdered by an enraged mob in July 1915. Almost immediately, US marines landed — ordered to quell the insurrection by a US administration fearful of anarchy — and the house was requisitioned for use as a military hospital. During the American occupation, which lasted until 1934, a wing was added to the main building, which in subsequent years proved invaluable.

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hen the US forces departed, the Sam family rented their home to a German-Swedish sea captain named Werner Oloffson. He was rarely seen there, but his wife oversaw its transformation into a 44-bed hotel.

And so, 90 years ago, in early 1935, the Oloffson opened its doors to an early group of American visitors — anthropologists, entrepreneurs, and artists — who were curious about a hitherto littleknown Caribbean neighbour.

In 1946, the widowed Margot Oloffson sold the lease to the first of several unconventional hoteliers, Maurice de Young, who — according to The Los Angeles Times — raised alligators in the swimming pool.

During de Young’s tenancy, and that of Roger Coster and Al Seitz, the Oloffson became notorious for its exotic, bohemian, and slightly louche ambiance. A succession of A-list literary celebrities and actors stayed in what John Dos Passos’ companion described as “a huge rococo rambling palace with barely a dozen people wandering around very chummily”.

Jenny Matthews/Alamy Stock Photo

John Gielgud, Truman Capote, Noel Coward, and Irving Berlin all signed the visitors’ book in the hotel that Coster joked was “a magnificent run-down barracks for derelicts”. The charm did not lie in efficient service or spotless accommodation — it was all about its languorous atmosphere, tinged with permissiveness, and the thrill of Vodou folklore.

Rooms, including those left by the American occupation, were named after their illustrious occupants. It did not really matter that they could be rather dark and creaky, with unreliable plumbing. It was, after all, a home to “drunks, criminals, the sexually obsessed, crazies, remittance folks, mistresses and gigolos and bemused adventure seekers”, as Herbert Gold wrote.

With the rise to power of François “Papa Doc” Duvalier in 1958, politics, poverty and human rights deteriorated dramatically, and tourists largely stayed

away. The one notable exception was English novelist Graham Greene, who visited Haiti in the 1950s and then 1965.

He immortalised the Oloffson — renamed the Trianon, and run by a world-weary hero during the darkest days of the dictatorship.

A classic Greene novel exploring love, commitment, and despair, The Comedians (1966) depicted the hotel as a haunted house: “With its towers and balconies and wooden fretwork decorations it had the air at night of a Charles Addams house in a number of the New Yorkers. You expected a witch to open the door to you or a maniac butler, with a bat dangling from the chandelier behind him.”

Papa Doc did not appreciate Greene’s account of his despotic regime, and the

film version of The Comedians, starring Richard Burton and Elizabeth Taylor, was wisely shot in the African state of Dahomey — much to Al Seitz’s relief.

But Greene’s evocation of the hotel remained fixed in the popular imagination, and the Oloffson became inseparable from one of Greene’s most memorable characters — the all-knowing and creepy Petit Pierre (aka Aubelin Jolicoeur), a gossipy journalist who frequented the bar and allegedly reported back to the dictatorship.

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hen I first went to Haiti in 1985, the hotel fully lived up to this image: I swam in the pool where once there were alligators, and where Greene imagined the dumped corpse of one of Papa Doc’s political adversaries. The sinister Jolicoeur was inevitably holding court at the bar.

From 1987, the Oloffson was run by Richard Morse — an American-Haitian with family links reaching back to the Sam dynasty. For many years, Morse navigated the turbulent course of Haitian politics — providing a haven for journalists and cultural tourists, and courageously confronting at least one of the military juntas that briefly ruled the country.

He also explicitly strengthened the link between the hotel and Vodou culture — decorating the place with Vodouinspired artworks, and performing every week with his band RAM in a blend of rock and religious folklore.

The crisis that surrounded the assassination of President Jovenel Moïse in July 2021 and the ensuing gang violence proved too much even for Morse, however, and he relocated with his family to New Orleans. It is not clear whether the hotel is now open for business, even if there are any visitors in search of a room.

Online reviews have dried up.

All this is deeply sad. But there is perhaps hope in the fact that the Oloffson, with all its gingerbread exuberance and creaking charm, is at least still standing.

When Haiti emerges from this latest chapter of instability and violence, the hotel will — it must be hoped — be ready to welcome new guests who are drawn to its history of eccentricity and resilience. n

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puzzles 1

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There are 17 differences between these two pictures.

How many can you spot?

Spot the Difference answers Sign is misspelled as “Masqueraid”; Robber’s expression; Robber’s hat; Robber’s shirt logo; female masquerader’s costume; female masquerader’s green leggings; Pierrot Grenade’s costume colours; Pierrot Grenade’s white gloves; Jab-Jab’s paint colour; Jab-Jab now holds a shovel; Panman’s shades; Panman’s sticks; the ticket in the tourist’s bag; tourist’s eyewear; Sailor’s bottle; Sailor’s pants; Sailor’s headwear

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Caribbean Airlines has a vibrant Sustainability Programme centered around the pillars

Education

Community

Wellness

Below are highlights from the airline’s sustainability activities in 2024

500~

seedlings planted in Courland, Tobago

Stationery 6000+ Drive stationery items donated by staff

career

expo

+career

caravan

57,414

210

volunteer hours

volunteers

contributed by staff

from staff

27,400

students

est. impacted

148

schools visited

Caribbean FOR THE

LEARN MORE

about Caribbean Sustainability

Future

www.cs.caribbean-airlines.com

WIRELESS INFLIGHT ENTERTAINMENT Welcome Home to

The NEW way to be entertained!

Use your personal device to stream Blockbuster movies, TV shows, games and more Caribbean content while in the air.

Enjoy free entertainment on Content is available only on selected flights*

Troubleshooting

Terms and Conditions

Unable to connect

By using the system, you accept the following terms and conditions:

1. Switch Wi-Fi off and on 2. Power the device off and on and repeat step 1 Unable to view content 1. Close and restart the browser and type www.caribbean-airlines.com 2. If this does not work, try an alternate browser and type in www.caribbean-airlines.com 3. Power the device off and on and try steps 1 and 2 again Note: Chrome is the recommended browser for laptops.

• *Content is available only on flights over two hours.

• Content is available only during flight.

• Access to content is only available above 10,000 feet.

• Access to content will stop before the end of the flight.

• You may not have sufficient time during the flight to watch the entirety of some content.

Viewing information: Please choose your viewing appropriately. Note: Some content may not be suitable for younger viewers, so please choose appropriate content where children will be watching.

Please ensure headphones are used at all times for playback of media content, unless muted.

• It may take a short time for a video or other content to start.

• Please note that we are not responsible for any data loss or damage to devices that may occur while/after using our services.

• Onboard battery charging facilities are available.

Safety information: • We may pause or stop our inflight entertainment system for safety or other reasons.

Security information: • This service is provided using wireless LAN technology.

Please be aware that it is a public network.

• It is each user’s responsibility to have an up-to-date security system (e.g. firewall, anti-virus, anti-malware) for their device.

Caribbean Airlines

ROUTE MAP

Ft. Lauderdale

GRAND CAYMAN

Tortola Puerto Rico

St Kitts

Guadeloupe Dominica Martinique Curacao

Caracas

Ogle

parting shot

Tobago cooldown

Joanne Husain

In the Runnemede Valley at the western edge of Tobago’s 1,564 hectare Main Ridge Forest Reserve — the oldest legally protected rainforest in the Western Hemisphere, declared in 1776 — the Cuffie River winds its way from the Goldsborough watershed, down through the forest, and alongside an old cocoa estate (now a renowned nature retreat). There’s magnificent birdwatching here due to the area’s tremendous biodiversity. Take a dip in the refreshing cool waters, and appreciate the profound beauty of Tobago’s natural world.

96

WWW.CARIBBEAN-BEAT.COM