The Junior Calypso Committee proudly hosted its official media launch marking the commencement of the 2026 Junior Calypso Competition and introducing this year’s talented young contestants.

The event was expertly hosted by the Junior Calypso Committee and Chairperson, Mr. Kasem Thompson and brought together contenders, parents, sponsors, stakeholders and supporters of Anguilla’s vibrant calypso tradition. During the ceremony, each contestant officially signed their participation agreement and was formally sashed, marking the beginning of their journey toward the 2026 Junior Calypso Competition.

A highlight of the evening was the selection of performance positions, as each contender was given the opportunity to draw and select their performance number for the competition. The moment generated excitement among contestants and attendees alike, further building anticipation for what promises to be an outstanding showcase of young calypso talent on July 30, 2026.

The media launch served as an opportunity to formally present the young performers who will compete in the highly anticipated Junior Calypso Competition as part of the Anguilla Summer Festival celebrations.

The Junior Calypso contenders who will vie for the coveted Junior Calypso Title are:
1. Sabria Richardson – Singing Sabbie
2. Andeja Bremner – Princess Paige
3. Xaiya Gibbons – Singing Xai
4. Andirian Fleming – Lil Skippa
5. Aaliyah Webster-Robinson – Lil Singer
6. Tsehai Carty – Calypso Ray
7. Liam Connor – Mighty Justice
These young performers represent the next generation of calypso talent and will showcase their creativity, stage presence and lyrical abilities as they compete for top honors at this year’s event.

In his remarks, Mr. Thompson expressed sincere gratitude to the committee’s sponsors, partners and key stakeholders for their continued support and commitment to the development of young calypso talent. He emphasized that this year’s competition promises to be dynamic, energetic and entertaining, showcasing the creativity, confidence and cultural pride of Anguilla’s youth.

Also addressing the gathering was Anguilla Summer Festival Chairman, Mr. Fitzroy Tomlinson, who commended Mr. Thompson and the Junior Calypso Committee for the excellent organization and execution of the launch event.

Mr. Tomlinson expressed his delight at the impressive number of participants registered for this year’s competition and noted that the enthusiasm displayed by the young contestants is a clear indication that the future of calypso in Anguilla remains bright.

The Junior Calypso Committee remains committed to nurturing young talent and preserving Anguilla’s rich calypso tradition by providing a platform for youth to express themselves through music, creativity, and performance.

The public is encouraged to support the contenders and attend the Junior Calypso Competition on July 30, 2026, during the Anguilla Summer Festival.

The annual Whit Monday Welches Fest was held on Monday, May 25th, bringing together crowds of Anguillians and tourists, as well as visitors from neighbouring islands to savour dishes of yesteryear and to get a taste of our culture and heritage.

The all day village-life experience enabled people to converge on the Fredrick Harrigan Playing Field not just to feast on locally made delicacies, but to meet up with old acquaintances and have some healthy fun against the backdrop of ole time music provided by Tok and the Boys and other local scratch bands.

Welches Fest had traditionally been organized by a group of Vanterpool siblings in the neighbourhood to show the young people of the Welches community the various customs that marked the way of life in the “ole time days”. Since those formative years, Welches Fest has taken off with rocket speed and now attracts Anguillians island-wide.

Again this year, of special note was the annual sponsorship of a delightful seniors’ luncheon sponsored by Cap Juluca Hotel. A generous number of seniors turned out to benefit from the delicious meal with an ole time flavor, and to enjoy the relaxing scenery.

For this year’s event, The Anguillian Newspaper got on site around 12:00 noon, meeting the field abuzz with a great deal of activity. We asked Willy, one of the Vanterpool brothers, how things were going, and whether they had envisioned the event to take on this caliber of popularity.

“When we started, eighteen years ago, it was not intended that our efforts would take on this level of enthusiasm and popularity,” he said. It was not even an event, per se. We had just intended to show the youngsters of the community certain features of the village way of life in days of old. But more people got to understand what we were doing. We were able to get a few sponsors, our ideas kept rolling and the Fest took off.”

“Welches Fest has grown tremendously,” he said. “Over the years great development has taken place. When we first started, we had never expected it to that on an ambiance of this kind. Look, this morning so many people were coming in and lining up early as usual just to get their johnny cakes and our traditional stinkin weed coffee. And, since there would be no boat race today, due to the unusually high wind, we expect to be hosting much more people later this afternoon.”

From as early as eight in the morning folks were rushing in for their favourite Welches Fest dishes and delicious delicacies. Whether it was flour pap; guinea corn porridge; stinkin weed coffee; butcher bits; goat-head-‘n-foot soup; yard fowl soup; and pigeon pea soup, the Vanterpool siblings had delivered what they had promised. Other delicacies include the famous sham; potato pudding; conkie dumplings; johnny cakes with salt fish, pumpkin bread; banana bread; tarts; cherry jam; tamarind jam and more.

One great feature of the frolic and fun was widespread participation in a eating and drinking competition. For this, Joe Vanterpool mimicked his commentary on the feasting contenders as if they were racing boats, as Boat Racing has been for many years Anguilla’s most prominent sport.

By 9:00 p.m. when it was time to wrap it all up, people were still milling around for more. The music and jolly dancing that had pervaded the air all day lingered past the hour.

The Welches Fest Committee wishes to extend sincere thanks to the Anguillian community and sponsors who has supported the events over the years. They are committed to make the one-day festival even better each year for the enjoyment of all.

The sound of cocktail shakers rattling against ice, the scent of thyme and sizzling lamb chops drifting through the air, and the steady hum of excited spectators transformed the grounds of Anguilla Great House into a stage of culinary theatre on Saturday, 16th May 2026, as the Anguilla Culinary Experience (ACE) Bartending and Chef Battles delivered an evening packed with pressure, flair and island pride.

The competition brought together some of Anguilla’s most talented bartenders and chefs in a showdown that was as entertaining as it was technically demanding. With mystery ingredients, ticking clocks and discerning judges all in play, competitors were forced to think quickly, improvise boldly and trust their instincts.

The bartending battle immediately drew spectators into the action. This year’s format raised the stakes by allowing only one bartender to mix at a time, intensifying the focus on each competitor’s creativity and showmanship. Contestants were given just three minutes to raid the pantry after their mystery ingredient was revealed, followed by five minutes to craft two cocktails — one garnished and one plain — while showcasing balance, originality and precision.

The mystery basket ingredients, including Thai basil, honey, hot sauce, dragon fruit and tamarind, pushed competitors beyond familiar territory. Yet the challenge only seemed to energise the field, with inventive combinations and daring flavour profiles emerging one after another.

Representing some of Anguilla’s best-known hospitality establishments were Lucas Barry, wine steward at Veya; Orlanno Adams and Kelly Hodge of Sandbar; Victor Fernandez Yamuni of the Blue Bar at CeBlue Luxury Villas; and returning champion Kyrleson Klaren, floor manager at Sandbar, who entered the competition carrying the pressure of defending his crown.

Judging the contests were Hall of Fame bartender Ron Webster, Dion Rogers of Dolce Vita and Doreen Harrison of Anguilla Great House, all carefully scoring competitors on creativity, timing, presentation, aroma, taste and technical execution.

The audience itself became part of the spectacle. While judges sampled cocktails using the “straw method”, patrons answered trivia questions for the opportunity to taste the second garnished cocktail prepared by each contestant.
Speaking during the event, Karen Hodge, representing the National Commercial Bank of Anguilla (NCBA), praised the competition as more than simply a showcase of drinks.
“Bartending is about creativity, precision, confidence and connection. Every cocktail tells a story of balance, innovation and personality and today’s competitors have stepped up to showcase exactly that.”

Another major sponsor, Cape Air, also lent its support to the festivities. Mary Stanley told the audience that the airline’s philosophy of “making our customers happy and having a good time doing it” closely mirrors the spirit of bartenders and chefs.

Meanwhile, under the pressure of the clock, the bartending competition felt like a live performance. Contestants darted between pantry tables and workstations, grabbing bottles, herbs, fruits and syrups before the clock ran down. Ice clattered into metal shakers and glasses lined up neatly as competitors worked to stay composed.

When the final scores were announced, it was Kyrleson Klaren who once again emerged victorious, successfully defending his ACE Bartending Battle title. Clearly emotional after the announcement, Klaren admitted he was “in shock” over the result and repeatedly praised his fellow competitors while expressing gratitude for the opportunity.

Lucas Barry secured second place honours, and the two competitors embraced each other and their fellow competitors following the announcement — a reminder that while the competition was fierce, camaraderie remained at the heart of the event.

If the bartenders brought drama, the chefs brought intensity.

Inside the chef battle arena, flames flickered, pots boiled and knives moved with practised precision as four chefs raced against the clock to transform unlikely ingredients into restaurant-worthy creations.

Returning champion Karan Kumar, a private chef known for preparing meals at Anguilla’s luxury villas and resorts, faced stiff competition from Steve Nicholls, Chef de Partie at Cap Juluca and Manoah Resort; Makeame Mussington, Hot Line Chef at Sharky’s Restaurant; and Riley Nuncio, Sous Chef at Karaya.

The judges’ panel featured internationally recognised culinary talent, including chef-owner Olivier Poilevey of Obelix and La Bouchon in Chicago, Executive Chef Sam Handwerger, Bravo TV “Top Chef” alum Timothy Dean, and Anguilla’s own Kelston “Sweets” Connor, the 2022 ACE Chef Basket Battle Champion.

The chefs were challenged to incorporate all three mystery basket ingredients — apricot jam, canned pigeon peas and sticky thyme — into their dishes. Judges stressed that the ingredients could not merely be decorative; they had to play a meaningful role in the final plate.

With only 55 minutes to complete their dishes, competitors worked furiously, blending local flavours with global techniques. Sweet potatoes, fish, lamb chops, fresh vegetables and more became canvases for culinary experimentation. Some chefs simmered sauces patiently while others fired the hibachi grill, each bringing a distinct personality and cooking philosophy to the competition floor.

The judges praised the competitors not only for their creativity, but also for the high standard of execution displayed throughout the afternoon. While they mentioned some strengths and weaknesses, the panel repeatedly described the dishes as “incredible” and noted that every chef performed like a winner.

In the end, however, Karan Kumar successfully defended his championship title, while Riley Nuncio captured second place honours.

The ACE battles showcased the sophistication of Anguilla’s hospitality industry and the remarkable talent shaping the island’s culinary identity behind hotel bars and restaurant kitchens every night.

What unfolded at Anguilla Great House was not simply a contest of cocktails and cuisine, but a celebration of the creativity, resilience and ambition driving one of Anguilla’s most important industries forward.

By Janissa Fleming.

Representing Anguilla with grace, confidence and excellence, Miss Ca’Miyah Hughes delivered an outstanding performance at the Inaugural Miss Caribbean Paradise Beauty Pageant – held on Saturday 16th May 2026 in St. Maarten – securing victories in three of the four judged segments. Her historic accomplishment brought immense pride and celebration to the island as Anguilla claimed the first-ever title in the pageant’s history.

Upon her return on Sunday, 17th May, representatives of the Anguilla Festival’s Development Commission (AFDC) and the Anguilla Summer Festival extended heartfelt congratulations to Miss Hughes and her team for their dedication, hard work and exceptional achievement.

Chief Executive Officer of the AFDC, Ms. Amber Woodley, praised Miss Hughes’ success and reaffirmed the Commission’s ongoing commitment to creating opportunities for young people within the creative and cultural industries. Drawing from her own experience in pageantry, Ms. Woodley also encouraged Miss Hughes to continue pursuing excellence in the field, noting that this milestone could mark the beginning of an even brighter future.

Chairman of the Anguilla Summer Festival, Mr. Fitzroy Tomlinson, also congratulated Miss Hughes and acknowledged the strong cultural foundation and support system that contributed to her success.

Chairman of the Anguilla Festivals Development Commission, Mr. Romare Kelsick, likewise extended congratulations to Miss Hughes and her team on behalf of the Commission. He emphasized the AFDC’s commitment to fostering opportunities for young people to grow and excel in the creative and cultural sectors.

Mr. Kelsick further noted that the Commission takes great pride in supporting initiatives that allow young people to showcase their talents, creativity, and artistic expression. He commended Miss Hughes for making history as the inaugural winner of the Little Miss Caribbean Beauty Pageant and for bringing the crown home to Anguilla.

In her remarks, Miss Hughes expressed sincere gratitude to her family and everyone who supported her throughout the journey.

Her achievement stands as a proud moment for Anguilla and serves as an inspiration to other young people across the island to pursue their dreams with determination and confidence. Her success highlights the importance of continued investment in youth development, culture and the performing arts, while further showcasing Anguilla’s talent and excellence on the regional stage.

The contestants for this year’s Miss Anguilla Pageant were revealed at Leon’s at Meads Bay on the afternoon of Sunday, April 26th. The five beauties added an exquisite feature to the regular Sunday afternoon lime adventure, known as “Leon’s Sunday Fun-day”.

Vying for the coveted Carnival Queen title, under the theme “Once Upon a Queen”, the beautiful bevy young ladies entered with a vibrant dance and were introduced by the reigning Queen, Ms. Jasmin Jade Ruan, before they individually introduced themselves.

The identity of the competitors are as follows: Contestant #1 Akéma Carty; Contestant #2 Sharianne Francis; Contestant #3 Amelia Olivaccé; Contestant #4 Ashelly Derich; and Contestant #5 Kishante Connor-Carty.

Earlier on Sunday, the Miss Anguilla Pageant contestants attended the church service at the Pro-Cathedral of St. Mary Anglican Church, taking a moment for reflection, faith, and community.
The Miss Anguilla Pageant takes place on Sunday July 26th and Wednesday August 5th. In preparation for the event, the contestants will participate in a series of activities, including developmental sessions as they progress on their journey to the coveted crown.

In a landmark moment for cultural development in Anguilla, the Honourable Minister for Social Development, Education, Youth & Culture, Probation and Library Services Mrs. Shellya Rogers-Webster, officially laid before the House of Assembly the first Business Plan of the Anguilla Festivals Development Commission (AFDC), in accordance with Sections 21 and 26(4) of the Festivals Development Commission Act 2025.

Described as a transformative roadmap rather than a routine procedural exercise, the five-year strategic plan (2026–2030) signals a major shift in how festivals are viewed, managed, and monetized in Anguilla, positioning culture not simply as a public service but as a sustainable economic pillar. “This business plan moves the Commission from concept to execution,” the Minister stated. “It establishes a modern, structured and accountable system that positions festivals as engines of economic development while preserving the cultural soul that defines Anguilla.”
The business plan outlines the Commission’s dual cultural and commercial mandate, positioning the AFDC as:
• A Regulator — setting standards and licensing festivals across Anguilla

• A Commercial Enterprise — generating revenue and managing assets

• A Cultural Authority — preserving and promoting Anguillian heritage and identity

Strategic Priorities for 2026–2030

The plan identifies four national priorities designed to elevate festivals into a pillar of national Development:

• Economic Growth: Targeting more than $15 million in business spend over five years through festival-driven tourism and job creation.

• Regulatory Development: Introducing a National Festivals Licensing System to improve quality, coordination and accountability.

• Cultural Preservation: Embedding heritage, education and identity into all festivals.

• Revenue Diversification: Expanding beyond government subventions through ticketing, sponsorships, merchandising, licensing and intellectual property.

From Public Service to Business Model

A defining feature of the plan is its clear shift from a traditional public service approach toward a business model for culture.

Under this model, festivals are positioned to:
• Generate independent revenue and attract investment
• Create jobs and support creatives and vendors
• Operate through year-round strategic planning
• Strengthen accountability and performance measurement
• Reduce long-term dependence on government funding

Financial projections outlined in the plan show revenues growing from $2.5 million annually to $4.3 million by year five, with a path toward operating surpluses and increased sustainability.

“This shift is not optional, it is necessary if Anguilla is to compete globally,” the Minister noted, emphasizing that festivals must be viewed as investments with measurable returns.

Key Operational Focus

The Commission’s work will focus on:
• Development and execution of festivals, including the Anguilla Summer Festival
• Licensing and regulation of festivals island-wide
• Management of the Landsome Bowl Cultural Centre as a revenue-generating national asset
• Commercial activities including sponsorship, merchandising and broadcast rights

The business plan also includes measurable performance indicators related to festival attendance, revenue growth, sponsorship value, licensed events, and annual reporting to Parliament, reinforcing transparency and accountability.

Managing Growth Responsibly

Recognizing potential challenges including weather disruptions, market competition and financial dependency, the plan includes mitigation strategies centered on diversified revenue streams, strong governance, licensing enforcement, insurance and structured planning.

The Minister described the plan as “a responsible and realistic framework, not an aspirational document.”

A Collaborative Milestone

The Minister used the opportunity to recognize those who contributed to the Commission’s Establishment and the development of the business plan.

A New Era for Festivals in Anguilla

With the Commission active for the past four months and foundational systems now taking shape, the tabling of this business plan marks the formal beginning of a new era for cultural development in Anguilla.

By adopting a structured, accountable and growth-oriented framework, the Government is positioning festivals not simply as celebrations, but as powerful instruments of national identity, economic opportunity and global competitiveness.

“The future of festivals in Anguilla must be built on a business model structured, accountable and growth-oriented with the support of government, while preserving the cultural soul that defines us.”

The unmistakable rhythm of drums, the splash of sails cutting through the wind, and the promise of colour-filled streets took centre stage on Monday, 16th March 2026, as the Anguilla Summer Festival Committee officially launched the 52nd edition of the island’s premier cultural celebration.

Held before an audience of tourism officials, cultural leaders and members of the public, the media launch signalled more than the start of another festival season. It marked the beginning of what organisers are confidently shaping into a bold and immersive experience under the banner “Anguilla for Summer”, a call aimed not only at residents, but at the diaspora and visitors across the globe.
At the heart of this year’s festival identity are two defining pillars — Carnival and Boat Racing. Ministerial Assistant for Sports, Youth and Culture, Hon. Jeison Bryan, underscored their significance, describing them as enduring symbols of Anguilla’s cultural soul. He reminded those gathered that boat racing, now recognised by legislation as the island’s national sport, represents more than competition. “When our sailors are out in the water, they are not just racing; they are carrying the spirit of Anguilla forward,” he said. Carnival, he added, reflects the joy, history and unity of the people, expressed through music, movement and shared celebration.

“Summer Festival has always been more than an event,” Bryan continued. “It is a celebration of identity… a reminder to the world that Anguilla may be small, but our culture is mighty.”

This year’s festival, scheduled to run from 24th July 2026 to 9th August 2026, promises its signature blend of high-energy events from thrilling boat races to pageantry, music competitions and community gatherings that transform villages into hubs of celebration.

Chairman of the Anguilla Summer Festival Committee, Fitzroy “Briggy” Tomlinson, revealed that preparations began as early as August 2025, immediately following a comprehensive review of the previous year’s festivities. Determined to strengthen both organisation and impact, the committee has spent months refining its approach, securing partnerships and finalising a schedule designed to deliver consistency and excitement.

“Our planning commenced early because we listened,” Tomlinson explained. “We analysed what worked, what did not, and how we could improve. Now we are ready to move full throttle.”
A central feature of this year’s strategy is the introduction of the Festival Passport Initiative, a creative blend of marketing and fundraising designed to deepen engagement. Festival-goers will be able to purchase a passport and accompanying wristband, allowing their attendance at events to be digitally recorded. The more events attended, the greater the chances of winning a grand prize, purportedly expected to reach EC$10,000.

The initiative, which Tomlinson described as both “interactive and rewarding”, is also intended to boost attendance across all events while providing new avenues for sponsorship and promotion.

The Chairman also confirmed that the festival’s budget has been set at approximately $1.8 million, a modest increase from the previous year. However, he acknowledged that additional support remains essential, appealing to the business community and sponsors to contribute to the continued development of the festival.

Questions from the media and public highlighted key areas of interest, including last year’s limited participation in the Parade of Troupes. Addressing the issue, Tomlinson pointed to renewed focus under the leadership of Kay Gumbs, chair of the Parade of Troops Committee, noting that early signs for 2026 are encouraging.

“We are concentrating on creating the environment for participation… and so far, it is looking promising,” he said.

On the matter of promotions, Tomlinson outlined an expanded regional strategy aimed at strengthening collaborations beyond Anguilla’s borders. Building on previous efforts in St. Kitts, the committee has already begun outreach in Dominica and is in discussions with organisers of the St. Martin Carnival. Plans are also in place to maintain a presence at the St. Kitts Music Festival.
Partnership remains a recurring theme. The Anguilla Tourist Board has reaffirmed its commitment, with Chief Marketing Officer Mrs. Kendisha Hall-Prentice highlighting the festival’s dual role as a cultural celebration and a key driver of tourism. Through regional and international campaigns, the Board is working to position Anguilla as a must-visit destination during the summer season.

“We are actively promoting the festival across multiple markets and collaborating with our partners to make travel more accessible,” she said, noting that attractive accommodation packages and dynamic digital campaigns are part of the push. She also announced the upcoming launch of the Board’s wider summer campaign, “Anguilla: Taste, Feel, Live,” with a specific launch date to be announced which will position the Summer Festival at the heart of the island’s cultural showcase.

Chairman of the Anguilla Festivals Development Commission, Romare Kelsick, echoed the importance of collaboration and community involvement, describing the festival as “the cornerstone of our cultural celebrations.” He emphasised its role in creating opportunities for local talent and businesses while preserving traditions that define Anguillian identity.

“As we open the doors for full participation this summer, we invite everyone — our residents, our diaspora, and visitors from around the globe — to join us in celebrating the very essence of who we are as a people,” Kelsick stated.

As anticipation builds, there is a clear sense that Festival 52 is not simply about entertainment, but about reaffirming identity, strengthening connections and showcasing Anguilla’s cultural richness on a global stage.

By Janissa Fleming

The Guyanese Association of Anguilla commemorated the 56th Republic Anniversary of the Co-operative Republic of Guyana under the theme, ‘Expressing Our Culture Through Innovation and Creativity’, with a weekend of reflection, thanksgiving and vibrant cultural display.

Republic Day in Guyana is observed annually on 23rd February, marking the historic moment on 23rd February 1970 when the nation severed its final constitutional ties to the British Crown and became a republic, four years after gaining independence in 1966. This year’s observances in Anguilla mirrored the spirit of Mashramani — Guyana’s national festival celebrating republican status — blending solemn remembrance with spirited celebration.
The local commemoration began on Saturday 21st February 2026 with a traditional Guyanese breakfast that brought the aromas and flavours of home to the island. Dishes synonymous with Guyanese heritage set the tone for the day, reinforcing the message that culture is preserved not only in monuments and mottos but also at the dining table.
On Sunday, 22nd February, members of the community gathered at Kingdom Citizen Church for a service of thanksgiving. Guyana’s Honorary Consul, Mrs. Kim Lucas-Felix, was present and subsequently delivered a radio broadcast to Guyanese across the diaspora. In her address, she reflected on Guyana’s journey from its republican transition to its current standing on the global stage.

“Fifty-six years ago, we took full responsibility for our destiny… Today, that destiny is being realized as our ‘Land of Many Waters’ transforms into a land of unprecedented opportunity for all Guyanese, whether at home or abroad,” she said.
Mrs. Lucas-Felix underscored Guyana’s transformation from what she described as a “fledgling nation” into a global player, noting its evolution from a largely agrarian economy into one of the fastest growing economies in the world. In recent years, Guyana has recorded significant economic expansion, largely driven by offshore oil production and major infrastructure development, while also maintaining one of the world’s highest proportions of rainforest cover, positioning itself as a key voice in environmental stewardship.

She also expressed profound gratitude to the governments and people of Anguilla and St. Martin for welcoming Guyanese nationals over the years. “You opened your doors to us. You allowed us to build businesses, raise families, and contribute to your vibrant societies. Guyana’s hands have helped build homes, teach children, and enrich the culture of our host islands. We are proud to be part of the Caribbean fabric, and we are grateful for the peace and prosperity we have found in these home away from homelands.”
Encouraging the diaspora to remain rooted in their heritage, she added, “Being Guyanese is not just about a passport. It’s about soul… It’s the smell of garlic pork and curry at Christmas, or the roti and the curry, the rhythm of the masquerade, and the resilience in our DNA. Do not let the fire go out. Teach the children. Share the flavours…Pass on the values.”

The celebrations culminated on Monday 23rd February 2026 with a flag-raising ceremony at the Green Space, where members of the Guyanese community and friends gathered beneath the Golden Arrowhead — Guyana’s national flag — to honour the republic.
Prayers were offered from both Christian and Hindu traditions, reflecting the country’s multi-faith fabric. The Guyanese National Pledge was also recited in unison.
Musical tributes added colour and emotion to the evening’s proceedings. “Oh Beautiful Guyana” was performed on the recorder by Arudra Bharrat, while Natania Connor, Suriya Benn and Anyanna James danced to “I Love My Golden Arrowhead,” a patriotic song celebrating the symbol at the heart of Guyana’s flag. Additional performances followed, including a saxophone selection by Mr. Elliot Gumbs and a spirited steel pan rendition by Sharvin Narine of 1264 Island Boys.
Remarks from the Chairman of the Guyanese Association of Anguilla, Mr. Carlton Pickering, were delivered by Mr. Mark Barrow. Extending greetings to Guyanese at home and across the diaspora, Mr. Pickering reflected on the significance of 23rd February 1970 as “the bold step” that cemented Guyana’s republican status as a free and independent nation.

He highlighted the symbolism embedded in the nation’s emblems — the Golden Arrowhead, representing the journey towards a prosperous future; the motto, “One People, One Nation, One Destiny”; the Coat of Arms; the National Anthem; and the National Pledge — all crafted as instruments of unity across diverse cultures and religions.

“Therefore, the national tapestry of Guyana was formed by every faith and heritage,” his message stated. “Irrespective of our ethnicity or religious persuasions, let’s not concede grounds to division in any of its forms or dimensions. We must persistently strive for unity, harmony and peace in our societies, where we live and work.”

Adding a distinctly Mashramani flair to the event, Ms. Theona Park paraded around the Green Space in a homemade float capturing the vibrancy of Guyanese culture. Though modest in scale compared to the elaborate street parades held annually in Georgetown, the display drew smiles and applause. Mrs. Deoranie Bharrat expressed hope that participation will grow in the years ahead and that Anguilla may one day host its own full parade in honour of Guyana’s Republic Anniversary and the island’s Guyanese community.

While the gathering was intimate, the pride was unmistakable. From prayer to pledge, from steel pan to saxophone, wherever they reside — whether in Georgetown, Marigot or The Valley — Guyanese remain bound by heritage, resilience and the enduring call of “One People, One Nation, One Destiny.”

The Guyanese Association of Anguilla expressed thanks to all sponsors and supporters who contributed to the successful hosting of the 56th Republic Anniversary celebrations.

By Janissa Fleming

Miss Anguilla 2025–2026 First Runner-Up Receives Official Welcome Home After Placing Second Runner-Up In OECS Regional Pageant

The Anguilla Festivals Development Commission (AFDC) and the Anguilla Summer Festival officially welcomed home Miss Ariel Bushay, Miss Anguilla 2025-2026 First Runner-Up, following her outstanding representation of Anguilla at the OECS Regional Pageant, where she achieved the commendable placement of Second Runner-Up.

Miss Bushay and her team were greeted on her return on Saturday January 31 at the Clayton J. Lloyd International Airport by members of the Anguilla Festivals Development Commission, representatives of the Anguilla Summer Festival, the Minister responsible for Social Development, Youth & Culture, the Honourable Shellya Rogers-Webster and Miss Anguilla Pageant Chairperson, Miss Amber Woodley. The warm and celebratory red carpet reception reflected the pride of the nation in Miss Bushay’s dedication, poise and exceptional performance on the regional stage.

During the welcome, brief but heartfelt remarks were delivered by several representatives in attendance. The Honourable Shellya Rogers-Webster extended her sincere congratulations to Miss Bushay, expressing immense pride in her achievements and applauding her for representing Anguilla with confidence, grace and cultural integrity. The Minister highlighted the importance of such accomplishments in inspiring young people and promoting Anguilla’s talent and identity beyond its shores.

Miss Anguilla Pageant Chairperson, Miss Amber Woodley, also shared congratulatory remarks, showing her appreciation for the persons who work behind the scenes – the chaperones and for Miss Bushay’s commitment, perseverance and growth throughout her reign and during the regional competition. She acknowledged the hard work and discipline required to compete at such a high level and praised Miss Bushay for setting a positive example for future contestants.

Remarks also came from the Chairman of the Anguilla Festivals Development Commission, Mr. Romare Kelsick, who congratulated Miss Bushay on her success and thanked her for being a proud ambassador for Anguilla. He emphasized the significance of her achievement in elevating Anguilla’s presence within the regional pageant community. Anguilla Summer Festival Chairperson, Mr. Fitzroy Tomlinson, echoed similar sentiments, applauding Miss Bushay for her dedication and for representing the spirit, culture and excellence of Anguilla with distinction.

The welcome-home event served as a meaningful moment of recognition and appreciation for Miss Ariel Bushay’s accomplishments, celebrating not only her placement in the OECS Regional Pageant but also her continued contributions to Anguilla’s cultural and national pride.

Anguilla’s rich creative spirit took centre stage on Saturday, 13th December 2025, as the 9th Annual National Culture and Arts Awards was held at the Aurora Anguilla Resort. The prestigious evening, also known as The Rock Awards, brought together government officials, cultural practitioners, families, supporters and stakeholders in a momentous celebration of those who have dedicated their lives to preserving, promoting and advancing Anguillian culture and the arts.
The evening’s tone was set by chairperson and reigning Miss Anguilla 2025, Jasmine Ruan, who in her welcome remarks reminded the audience that the awards were rooted in togetherness. “Tonight is really about community. About coming together to enjoy the music, the movement, the art, the stories that make us who we are,” she said. “Whether you’re an artist, a nominee, a supporter, or someone who simply loves our culture, your presence here adds the magic to this moment.”

The National Culture and Arts Awards recognise individuals whose commitment has left an indelible mark on Anguilla’s cultural landscape. Fittingly, recipients are presented with The Rock Award itself — a symbolic and literal piece of Anguilla that embodies the island’s strength, resilience and creativity.
This year, five individuals were honoured across several categories spanning participation, leadership, innovation and lifetime achievement in culture and the arts.

Veteran musician Lanvol ‘Pantha’ Hughes received the Performing Arts Award for Participating in and Promoting Culture and Arts. With a remarkable 34-year journey in music, Hughes began performing at just 16 years old with local bands before founding Pantha Vibes International in 2007. His enduring contribution to Anguillian music has been marked by multiple Road March Champion titles and a steadfast commitment to preserving and promoting the island’s cultural heritage.

Amber Woodley was recognised with the Creative Community Engagement and Collaboration Award for Developing and Leading Culture and Arts. Described as a lifelong student, practitioner and teacher of culture, Woodley is the founding member of the All-Ah-Wee Young Theatre Company and the From Within Dance Company. A former pageant queen and the 2025 chairperson of the Miss Anguilla Pageant Committee, she has represented Anguilla locally, regionally and internationally, both on stage and behind the scenes.
The Innovative Creatives Award was presented to Alexis Ryan, a cultural ambassador and creative visionary whose influence on Anguilla’s performing arts and cultural expression is far-reaching. Ryan’s work spans fashion design, performance, mentorship and pageantry, where he has played a vital role in shaping Anguilla’s presence across the region. His multifaceted contribution continues to expand how Caribbean identity is expressed and celebrated.
Emerging soca artiste Viglef “Viggy” Gumbs received the One to Watch Award, recognising his growing impact on Anguilla’s music scene. Gumbs began his musical journey at the age of 12 in local bands before branching out as a solo artist. His efforts to put Anguilla’s soca music on the map have already borne fruit, with back-to-back Groovy Soca Monarch titles in 2024 and 2025.
The evening’s highest honour, the Cultural and Artistic Lifetime Achievement Award, was bestowed upon Renford Kelsick for decades of dedicated service to Anguilla’s cultural development. Kelsick played an instrumental role in the early organisation and implementation of Anguilla Summer Festival, then known simply as Anguilla’s Carnival. As president of the Lions Club in the 1980s, he helped secure financial support that led to significant improvements at the Landsome Bowl Cultural Centre. His contributions have extended to numerous Summer Festival committees and the hosting of countless cultural shows, with his passion still evident through participation in the Klassique Old Timers Troupe.

Delivering the feature address, Honourable Minister Shellya Rogers-Webster emphasised that culture is far more than entertainment. “Culture is not just a luxury. It is a living art of our nation. It is how we remember who we are, tell our stories and celebrate our differences and build our future together,” she said. Congratulating the awardees, the Minister noted that their work not only preserves tradition but also pushes Anguilla forward creatively and economically. “Culture is also an economic asset… but more than that, culture is our social capital. It strengthens community ties, heals wounds and offers young people pathways to self-expression and progress.”

Chair of the Selection Committee, Jacqueline Bryan, provided insight into the rigorous nomination and evaluation process, grounding her remarks in reflections on creativity and courage. Quoting Mahatma Gandhi, she said, “A nation’s culture resides in the hearts and in the souls of its people,” adding that the awards were not simply about accolades, but about affirming the soul of Anguilla. She explained that nominations spanned multiple categories and segments, with each submission carefully reviewed to ensure fairness, integrity and high standards. “After careful discussion, scoring and systematic evaluation, the committee reached a unanimous and harmonious decision,” she shared.

The ceremony was also enriched by cultural performances, including an opening dance by Women of Dance and a stirring saxophone performance by Elliot Gumbs. One of the most poignant moments of the night came when honouree Alexis Ryan delivered a spoken word poem celebrating Anguilla’s people, creativity and pride, describing the island as “the jewel of the Leeward Islands” and its people as “proud… with a level of pride in their country that is bigger than their country.”

Closing remarks were delivered by Avon Carty, who expressed gratitude to the Government of Anguilla and the Ministry of Social Development for their continued support of the cultural sector. Acknowledging the often unseen labour behind such initiatives, she thanked those working tirelessly within the Department of Youth and Culture – particularly its Culture Division – to ensure that Anguilla’s cultural bearers are recognised and celebrated.

As the curtains fell on the 9th Annual National Culture and Arts Awards, it was clear that Anguilla’s culture remains vibrant because of the people who guard it, shape it and pass it on. On this night, those individuals were rightfully honoured — not only for what they have done, but for the legacy they continue to build for generations to come.

The Anguilla Hotel and Tourism Association (AHTA), in collaboration with the Anguilla Tourist Board (ATB), hosted its highly anticipated Tourism Awards Gala on Saturday, December 6th at The Pavilion at Aurora Resort. The prestigious event brought together over 200 attendees, celebrating excellence, dedication and innovation across the island’s vibrant tourism sector.

The evening began with a cocktail reception from 6:30 to 7:30 pm, giving guests the opportunity to mingle, enjoy hors d’oeuvres and set the tone for an unforgettable night. Immediately following the reception, attendees transitioned into the awards ceremony, where the achievements of outstanding industry professionals and organisations were honoured.

The event featured distinguished guests and dynamic speakers, including the Honourable José Vanterpool, Minister of Infrastructure, Communications, Utilities, Housing, Information Technology and E-Government Services, and Premier of Nevis, Honourable Mark Brantley, who delivered the keynote address.

Serving as Master of Ceremonies was Farrah Banks, who seamlessly guided the evening’s proceedings. Awards were presented by Jade Reymond, AHTA Board Member and Chantelle Richardson, Deputy Director of Tourism. The AHTA’s CEO, Cherecia Lewis also delivered a special presentation honouring the past Executive Directors of the Association for their invaluable contributions to the industry.

Throughout the ceremony, guests enjoyed a four-course dinner, expertly prepared by renowned Anguillian chef George Reid and his talented culinary team.

The celebration was elevated by stellar performances from DJ Sugar, 264 Island Boys, and a special musical selection from Rebecca “Queen B” Webster, bringing energy and excitement to the night.
Fifteen outstanding individuals and organisations proudly received awards during the ceremony. The award categories and winners were as follows:

Hotelier of the Year – Diego Stembert, GM at Four Seasons Resort
Hotel of the Year – Cap Juluca Hotel
Villa Member of the Year Award – Long Bay Villas by Malliouhana
Allied Member of the Year Award – Richardson’s Car Rental Agency
Employee of the Year Award – Glennica Gumbs
Supervisor of the Year Award – Conlloyd Gumbs
Restaurant of the Year Award – Es Oven Restaurant
Anguilla Tourist Board Recognition Award – Dale Carty
Pioneer Award – Donna Daniels-Banks
Youth Leadership Award – Jaivaughn Richardson
Community Service Award – Anguilla Enhancement Project
Rising Star Award – Clemvio Hodge
Entertainer of the Year Award – Vere Musiq
Airport Employee of the Year Award – Talitha Bazil Lawrence
Seaport Employee of the Year Award – Ernesto Bazil

The AHTA Tourism Awards Gala once again highlighted the passion, resilience and excellence that define Anguilla’s tourism industry. The Association extends its congratulations to all award recipients and its appreciation to everyone who contributed to making the evening a memorable success.

Savi Beach Club became the site of a symphony of sound on Friday, 28th November 2025, as the Volta Music Foundation staged its “Mix, Sip & Support” fundraiser — a vibrant happy hour with a purpose: to champion music education in Anguilla.

Held as part of a series of events for this year’s Malliouhana Fest, parents, supporters, tourists, and curious onlookers gathered against the backdrop of the island’s evening glow, eagerly awaiting the debut performance of the foundation’s first cohort of violin students, who have been attending lessons every Monday since the programme began.
Ahead of the performance, founder Yalyen Saignon spoke with unmistakable pride about what the night represented for the budding musicians, describing the showcase as the fruition of the students’ dedication and a reflection of the foundation’s core mission.

Established in 2018, Volta Music Foundation is a non-profit organisation assisting young musicians across the United States and Latin America by developing global support networks that empower them to reach their full potential. It provides instruments, learning materials and essential tools — resources that many families would struggle to access otherwise.
The thirteen violinists in training stepped forward, donning their foundation T-shirts, violins poised with both nerves and excitement. Guided by their tutor, they performed a rendition of “Twinkle Twinkle Little Star”, drawing smiles from the gathering. Their gentle yet confident playing hinted at raw, growing talent — and to many in attendance, it felt like witnessing the first notes of futures filled with possibility.

Among the most moved was parent Samantha Kentish, who reflected on the transformation she has seen in her son, Alexander. “He has always been interested in music. He picked up a friend’s violin at age three and ever since then he wanted to play,” she shared. Finding a teacher had long been a challenge, but she said discovering Volta Music brought relief and joy. “It’s been wonderful… He’s been enjoying it and I’ve enjoyed seeing the growth in him.”

Other stakeholders — including Janine Edwards, Avon Carty, and Andrea Bear — echoed their admiration for the programme’s early successes. Edwards reflected on the wider ripple effect it is already creating: “We now have an entire team who’ve also fallen in love with Anguilla and want to give back. So the seed has been planted and it’s growing.” Carty also extended her appreciation to Savi Beach Club for its unwavering support, noting that partnerships such as these help sustain the arts within the community.

The evening’s musical offerings did not end with the students. Four of the programme’s tutors also took to the stage, performing a selection of classical and contemporary pieces. Among them was an evocative original composition titled “Entwined”, written by Anguillian Berklee College of Music graduate Kamal Vanterpool. The piece — fluid, emotional and cinematic — captivated the audience and underscored the depth of artistry Volta aims to nurture.

Beyond the performances, the event carried a deeper, future-focused intention. Silent auctions ran throughout the evening, raising funds to ensure that the violin programme and its young musicians continue to grow. Savi Beach Club also introduced the aptly named “Symphony Sip” cocktail, with proceeds from each purchase — both on the night and for the remainder of the year — pledged to support Volta Music Foundation’s ongoing work.

By the night’s end, Savi Beach Club had become more than a venue; it was a testament to community, creativity, and the power of opportunity. For the young violinists who took the stage and the supporters who rallied behind them, the event struck a hopeful chord that promises to resonate far beyond a single Anguillian sunset.

By Janissa Fleming

Malliouhana announces The Friday Link, a bi-weekly gathering designed to bring together industry professionals in a refined and welcoming environment.
Hosted at Bar Soleil, The Friday Link provides an opportunity for professionals to connect, exchange ideas, and unwind in an elevated setting. Guests will enjoy thoughtfully crafted cocktails, gourmet sliders with island influences, and live entertainment featuring DJ Sugar accompanied by a saxophonist.

The upcoming edition will be held on Friday, November 28 at 8 PM, in collaboration with the Department of Youth and Culture. During the evening, the Department will present updates on the upcoming Malliouhana Fest, offering attendees insight into this significant cultural initiative.

As an established leader in Anguilla’s hospitality landscape, Malliouhana recognizes the importance of supporting the community that has been integral to the resort’s success. The Friday Link reflects the hotel’s ongoing commitment to contributing meaningfully to the island’s professional, cultural, and economic ecosystem by creating a platform that encourages engagement, visibility, and collaboration.

Businesses and organizations interested in utilizing The Friday Link to highlight initiatives, share updates, or engage with the professional community are invited to call 1.264.497.6111 or email concierge@malliouhana.com to get started.

The final Cock Tales episode of the year didn’t tiptoe around anything. Held on Saturday, 22nd November 2025, and themed “Rhymes, Rage and Reality: Music, Youth and Violence”, the conversation landed right in the middle of International Men’s Week. For host Diquan Reid, it was the perfect moment—not just to “celebrate men and boys,” as he put it, but to take an unfiltered look at the forces shaping them.

Joining him were Devin Hodge and Lesroy Lake, two voices who combined research, raw honesty, and a clear worry about where young Anguillian men are heading.

From the start, Hodge made it clear: youth violence isn’t just a “young people problem”—it’s a public health issue. Young men, he said, are both the main perpetrators and victims, and the ripple effects hit everyone. Families. Schools. Healthcare. The justice system. “Men sit central to a lot of the incidents of youth violence,” he said, stressing how important the Department of Youth and Culture is in addressing the issue.

Lake drove the point home with a blunt truth: Anguilla’s prison is filled with men under 40. To him, the problem starts long before crime—“Men are actually neglected… there is no support or not much support for men.” In homes. In schools. In society.

And that neglect, the panel argued, shows up everywhere.

One of the strongest threads of the night was simple but heavy: what children see, they repeat. Lake said it plainly —“Violence does breed violence.” Kids absorb the patterns they witness, especially from fathers or father figures.
Hodge added that violence in small communities like Anguilla often has layers. Old conflicts don’t die; they’re inherited. Generational grudges get retold until they become part of young men’s identities. “From geopolitics to neighbourhood spats,” he said, the cycle repeats.

But both men agreed: cycles can be broken. Just not by accident.

When the conversation turned to music, the debate around Trinibad and other violent genres brought out some of the strongest opinions of the night. Hodge pointed out that many Trinibad artists themselves admit the line between “crime and music” is paper-thin. That, he warned, is where the real danger lies.

He didn’t argue that music creates violence, but he emphasized its influence. Everyone understands how music sets a mood — gospel for Christians in the morning, romantic R&B for date nights, hype tracks in the gym. So why pretend violent lyrics don’t also have emotional impact? Reid took a different angle. For him, the real pull of “badman” music is the lifestyle it advertises. Flashy jewellery. Power. Fearlessness. Respect. For teens without money or stability, that image is magnetic and music videos become roadmaps.

No one on the panel supported banning music, but they all agreed that not every song belongs in every space. Hodge recalled being at a community event when a song about “spitting skulls” blasted through speakers — with children present. That, he said, is where the line should be drawn. Reid floated the idea of fines for promoters who play explicit music around kids, noting that high schoolers overwhelmingly supported stricter limits. Lake countered that the real issue starts at home, where toddlers sing along to violent or sexual lyrics because adults normalize them.

And of course, as audience members reminded everyone: how do you regulate anything when a child with a smartphone can access the entire internet at any time?

Reid argued that music has always reflected society — calypsonians were airing dirty laundry long before TikTok. The difference now, he said, is that “we are desensitised and it’s normalized.” Not glorified. Just… shrugged off. Lake added that even toddlers are mimicking sexually suggestive dances, and adults brush it aside as “culture.” In the rush to seem trendy or unbothered, harmful behaviour slips through the cracks.

Local teacher, Neil Gumbs, in the audience, shared that he grew up surrounded by community support so violent lyrics never shaped him. Many young people today don’t have that buffer. Lake agreed, saying that even children raised with solid values can be swept up by peers, especially when friends feel like the only stable thing in their lives.

Hon. Merrick Richardson pushed the conversation deeper. Violent music doesn’t exist alone, he argued. It mixes with video games, early marijuana use, group pressures, and the emotional chaos of adolescence. Together, they “blur the lines.”

“You are what you listen to,” he said, especially when your brain is still developing and your guard is down. He also lamented how disconnected today’s youth are from moral grounding. Church attendance is down. Community leagues have faded. “That little voice saying, ‘this is wrong’ — a lot of children don’t hear it anymore,” he said.

Nobody sugar-coated the reality: parents are tired, young, stretched thin, and often doing their best with limited tools. Reid acknowledged that while parental controls help, it’s hard for someone working two jobs to monitor every lyric, video, or TikTok trend.

Lake added that parents often hand down their own media habits—good or bad. Expensive devices get used as pacifiers. Cycles repeat.

An audience member pointed out something many adults already feel — the people teens look up to are often the most entertaining, not the most responsible. Reid answered with a wrestling metaphor: if society wants healthier role models, it can’t just hope young men notice them. It has to “put all the lights, all the bells and whistles” behind them.

But Hodge revealed a harder truth: mentorship programmes often struggle to find male volunteers. “We find more women than men,” he said. Boys end up “raised to be boys and not men.”

Hodge highlighted how unforgiving the system can be. One early mistake and a young man becomes an outcast. He referenced the UK’s “spent convictions” system and argued Anguilla needs similar reform.

Reid added that economic inequality on the island feeds resentment. Many young men feel stuck at “the bottom,” and the frustration becomes combustible.

Sports came up frequently as one of the few reliable safety nets left. Coaches talked about watching teens release anger, find discipline, and gain confidence through physical activity and mentorship. Young men, they said, “follow what they see.” They need more examples of healthy conflict resolution, not fewer. Hodge called for significant investment in safe, welcoming spaces where young men from different communities can interact. Sports facilities. Community centres. Mentorship hubs. By 2028, he hopes Anguilla will have a dedicated facility focused solely on supporting young men.

Audience members also highlighted school initiatives like “Speak Your Truth,” aimed at addressing emotional trauma early. But they warned that unless older men confront their own issues, the next generation will inherit them unchanged.

By the end of the night, one thing was clear: the challenges facing young men don’t come from one source. They come from everywhere — music, culture, technology, absent fathers, strained households, drugs, violence, inequality, and a loss of community structure.

But the panel didn’t end on hopelessness. They stressed that change is possible and already beginning. Through intentional mentorship, stronger institutions, proactive parenting, moral teaching, and rebuilding community spaces, Anguilla can reshape the environment young men grow up in.

By Janissa Fleming

The conversations may have ended a week ago, but the resonance of the Anguilla Music Tourism Convention continues to hum across the island’s cultural landscape. Held from 5th – 6th November 2025 at Aurora Anguilla Resort, the gathering brought together international experts, regional artists, and local visionaries to explore how music and tourism can unite to fuel sustainable development.

Day Two featured an engaging panel discussion titled “Bringing Local Music Genres into Tourism Strategies,” moderated by Dr Monique Charles of the United States. Panelists Lynreshay Johnson (The Bahamas), Christian Martinez (Argentina), and Dirk Walters (British Virgin Islands) explored how their homegrown sounds have evolved into cultural calling cards for visitors and how their musical traditions shape their tourism identity.
Panellists also discussed how policy and preparation can safeguard local creatives. Walters noted that the BVI once required event promoters to hire at least one local band whenever a foreign act performed — an idea that resonated strongly with the Anguillian audience. “If we don’t do that, we lose our identity,” he said pointedly.
Johnson added that the Bahamas’ newly designed cruise port allows “only Bahamian vendors,” ensuring that a visitor’s first encounter with the islands reflects its people and culture. In Argentina, Martinez called for government-backed initiatives that encourage the growth of new tango — a vision that could equally apply to Anguilla’s own efforts to modernise its traditional sounds without losing its soul.

Further presentations explored how creative infrastructure can transform communities. Greek producer Kostas Kalimeris’s case study of Blackrock Studios illustrated how recording destinations can boost local economies by attracting global artists year-round. “When international stars record here,” one slide noted, “their experiences become tourism promotion in themselves.”

Another presentation saw Andrew Lansley of the United Kingdom discuss how cultural events can foster sustainability. “Music and tourism bring people together,” he said, “creating connections that strengthen local economies and inspire travellers to explore more responsibly.”

Perhaps the most eagerly anticipated session was the local panel, “Why Professional Music Ecosystems Are the Foundation of Music Tourism in Anguilla,” moderated by Avon Carty. The discussion featured familiar names in Anguilla’s creative circuit — Fitzroy Tomlinson, Avenella Griffith, Crispin Brooks and musician Lois Hazell — who each examined how the island can build an ecosystem that nurtures both artistry and economic growth.
Tomlinson reflected on the island’s progress and challenges: “We don’t have to be fully developed to start. What we need is will and legislation that supports what we want to build.”
Hazell, a respected music educator, emphasised the importance of grounding young artists in their heritage. “We have to start with our history,” she said. “That’s how we ensure we have sustainable artists. We need music that can last forever — not just for the carnival season.”
Griffith agreed, envisioning string bands in every primary and secondary school: “They could play at assemblies, even in churches. That’s one way to maintain the culture.”
Creative entrepreneur Crispin Brooks provided a mini masterclass in turning artistry into industry. “The base of anything is the sound,” he said, walking participants through the essentials — from songwriting and branding to distribution and PR. “You have to sell not just your music, but yourself. Your image, your story, your identity.”

His advice resonated deeply when local artist Natalie Gumbs chimed in from the audience, calling for more investment in public relations. Brooks agreed, pointing out that every press run, every interview abroad, amplifies Anguilla’s name. “When you put it all together,” he said, “that artist becomes an ecosystem—because the lawyer, accountant, stylist, and community all benefit. It’s full circle.”

Still, the panel did not shy away from acknowledging obstacles. Limited infrastructure and accommodation continue to hinder large-scale festivals. “We can’t sustain big international events yet,” Tomlinson admitted. “But we have no problem collaborating—we just need to be realistic about scale and investment.”
Griffith added that differentiation is key to Anguilla’s global standing: “Our artists must let their Anguillianness shine. We have something unique here, and the world needs to feel it.”
Brooks suggested the island’s small size could actually be an advantage. Recalling innovations during the pandemic, he described how technology connected audiences virtually. “Stream our band clashes free for five years,” he proposed. “Let the world fall in love with Anguillian music first — then build from there.”

When asked about their vision for Anguilla’s place in the world, the panelists were unanimous: collaboration and consistency will drive the island forward. “It’s not about being the biggest,” said Tomlinson. “It’s about being authentic.”
As the curtains fell on the convention, Ministerial Assistant Jeison Bryan captured the mood with gratitude and determination. “This convention has shown us what is possible when the world comes together around the universal language of music,” he said. “Anguilla can stand tall among leading music destinations — not because we are the biggest, but because we are authentic, intimate and intentional.”
He pledged that the Ministry would continue to build on the ideas born during the event, strengthening infrastructure, creating opportunities, and ensuring that “culture is not only preserved, but also profitable.”

By Janissa Fleming

Anguilla hosted the first-ever Music Tourism Convention to be held in the Caribbean. The landmark gathering, staged at the Aurora Anguilla Resort & Golf Club from 5th – 6th November 2025, brought together international and Caribbean leaders in culture, tourism, and the creative industries. Organised by the Government of Anguilla — through the Department of Youth and Culture — in partnership with Music Cities Events and Sound Diplomacy, the two-day event signalled Anguilla’s intention to position music not only as entertainment, but as a strategic economic force.
“This convention marks an exciting new chapter for Anguilla — one where the worlds of music and tourism meet not by coincidence, but by design,” said the Hon. Minister of Health, Tourism & Sports, Cardigan Connor, in his welcome remarks. “Visitors are no longer just looking for places to stay; they are seeking places that move them… And in that sense, Anguilla is already blessed. Music is woven into the very soul of this island.”

He added that building a sustainable creative economy requires more than hosting events. It requires policy, infrastructure, training, and investment. “[The Government of Anguilla] is fully committed to developing the framework that supports this growth… to ensure that Anguilla continues to be recognised not only for its beauty and hospitality, but for its vibrant cultural pulse.”

The convention arrived at a time when global music tourism is booming. From “gig tripping” to cities transformed by superstar residencies, the global music tourism market — valued at US$5.5 billion in 2022 — is projected to double by 2032. In the Caribbean, where icons from Bob Marley to Rihanna have long shaped global perceptions, music remains one of the region’s most powerful cultural exports.

The convention’s first major panel, “Anguilla Music Ecosystem – Where Are We Now?”, moderated by Bonnie Richardson-Lake, dug into the realities of Anguilla’s creative landscape. The conversation brought together four major figures: veteran musician Bankie Banx, producer and entrepreneur Davon Carty, artist Rebecca “Queen B” Webster, and owner of 360 Artistry Ivan Berry.

Their verdict was clear: Anguilla has talent, history, and heart — but not yet a functioning music industry.

“In Anguilla, we have a brilliant entertainment scene,” Ivan said plainly. “We do not have a music industry. We do not have an industry that’s the business of music.” He argued that heavy reliance on hotel gigs, where performers often sing mostly cover songs, can limit artistic growth. “When you spend a lot of time performing in hotels, your performance becomes very cruise-ship-ish… the songs don’t have the level of edge and creativity it takes to be really successful.”

Bankie Banx agreed, saying Anguilla already has all the ingredients but lacks structure and investment. “We’re not putting the resources in the right places,” he said. “There are no lighting engineers. No performing arts centre. No hotel on this island has a stage for a band.”

Queen B offered a frontline perspective, balancing realism with pride. “I am one of those hotel singers… but I bring much of myself,” she said. Still, she acknowledged that Anguilla is “absolutely not where we should be,” calling for greater professionalism, copyright protection, and mentorship for young performers.

Davon recounted his journey with British Dependency, a band that fought to perform original music in venues dominated by guest preferences for familiar tunes. “I don’t think people understand how important it is to a society — the British Dependencies, the Omaris, the Bankies…how important they are in terms of impacting the youth.”

Across the panel, one consistent message also stood out. Without government support, strategic investment, and education in the business of music, Anguilla risks leaving its creative potential untapped.

Ivan put it bluntly: “All music equipment should be tax and duty free.” He also stressed the need for music business education in schools and mandatory local music quotas for radio — policies used successfully in other Caribbean nations and Canada.

Conversation often returned to a deeper issue: the way society perceives its own creatives. “I toured with a band called British Dependency. When I come back home, there’s always one question that most Anguillians ask me: ‘Them had like aya?’ Which says a lot. We don’t believe in ourselves,” Davon reflected. “We think the rest of the world doesn’t either. Well, I’m here to say that we are magnificent artists.”

Bankie highlighted another long-standing problem: the undervaluing of musicians. “There is a tendency to think that if you’re an artist or musician… you need another job. They don’t understand the hours of work behind what you see.”

Ivan also noted a functioning music industry relies on far more than singers and performers. He stressed that young people need access to training and pathways not only as artists, but as the lawyers, accountants, publicists, stylists, managers, photographers, and technical professionals who form the backbone of a thriving creative sector. With these roles in place, he explained, Anguilla could foster globally touring artists, export its culture, and generate new streams of foreign revenue.

From infrastructure to mindset, panellists stressed that change requires both community and government engagement—and long-term commitment.

Day 1 also featured a presentation by John Copeland and Connie Kinnard of the Greater Miami Convention and Visitors Bureau, offering insights into how major destinations leverage culture to build global brands.

Kinnard pointed to Miami’s diversity as its cultural engine, noting that music tourism thrives on authentic experiences and local stories. She underscored that music tourism boosts economies not only through major concerts but through the visibility it provides to emerging artists, neighbourhoods, and community spaces. “It’s not limited to large-scale events,” she noted. “It gives the opportunity for the person that plays the saxophone on the corner to elevate.”

For Anguilla, the industry can only grow if the entire ecosystem — artists, venues, promoters, cultural institutions, educators, and government—moves together.

Beyond the headline sessions, the convention also featured an extensive programme of additional panel discussions, workshops, and presentations, including:

• Strengthening Music Tourism in the Caribbean

• Carnivals & Festivals as a Music Tourism Tool

• Music Awards Hosting and Tourism Development

• Bringing Local Music Genres into Tourism Strategies

• Why Professional Music Ecosystems Are the Foundation of Music Tourism in Anguilla

These sessions offered deeper insight into how Anguilla – and other island nations – can collaborate, how cultural celebrations can drive visitor engagement, and how professionalisation within the creative sectors can unlock long-term economic potential. As the Hon. Minister Connor said, “Let us imagine a future where Anguilla’s rhythm becomes part of the global soundtrack of travel and culture.”

The James Ronald Webster Park glowed in a way Anguilla had never quite seen before on Saturday 18th October, 2025. Strings of light, bursts of colour, rhythmic music and the scent of Indian spices filled the air — not for Carnival, but for the Diwali Motorcade and Cultural Evening.
Hosted by the Guyanese Association of Anguilla, this year’s Diwali marked a special moment in Anguilla’s cultural landscape. While the Hindu festival has been celebrated predominantly by the Guyanese community, this was the first time the wider public was invited to take part — and Anguillians of all backgrounds showed up, curious and eager to share in the light.

Diwali, often called the Festival of Lights, is one of the most important Hindu festivals, celebrated across India and the Indian diaspora. It commemorates the victory of light over darkness, knowledge over ignorance, and good over evil. Diwali is marked by the lighting of the Diya (small oil lamps), which symbolises the removal of ignorance and the welcoming of wisdom, peace and prosperity.
Falling on the new moon between mid-October and mid-November, Diwali is a time when homes are decorated with lights, rangoli (colourful ground art), and offerings to deities such as Goddess Lakshmi, the bringer of wealth and fortune. It is also a time for family, reflection, and renewal.
The evening began with a motorcade that made its way to the end of the airport before looping back to the park. The lead truck, illuminated in bright colours and messages of hope, carried members of the Guyanese community dressed in traditional Indian wear — men in dhoti and women in vivid saris — waving to onlookers as rhythmic Indian music played through the streets.
The return to the park marked the start of an evening filled with music, prayer and cultural expression that captivated onlookers of all backgrounds.
“Hindus believe that God exists everywhere and in everything,” Mrs. Deoranie Bharrat noted, as she opened the programme with a heartfelt prayer in Hindi, invoking blessings to remove obstacles and sins.
The Hon. Premier Cora Richardson-Hodge then lit the diya. The act set the tone for the evening’s message of hope, renewal, and shared humanity.
Ms. Rodi Richardson, who was introduced to Indian culture through the Bharrat family, explained the significance of colourful Rangoli art displayed at the event. “The word Rangoli comes from rang, meaning colour, and avali, meaning a row of colours,” she said. “It’s a sacred, symbolic practice at the heart of Diwali. Just like the warm welcome and community spirit we celebrate here on our beautiful island, the Rangoli is a sincere invitation of joy and prosperity.”

The evening’s tone was one of togetherness. Mr. Carl Thomas, dressed in a yellow dhoti, greeted the crowd warmly: “We welcome everybody here. When you leave, spread the word that you had a wonderful time at our Diwali celebration.”
Mr. Cecil Chin, Advisor to the Executive Council of the Guyanese Association, shared his hopes for the future of the event. “It’s the inaugural presentation of a Diwali activity open to the public,” he said. “In time, it will become an event you won’t want to miss — one that takes its rightful place on Anguilla’s annual calendar.”
Premier Richardson-Hodge echoed those sentiments in her own remarks. “Opportunities like these allow us to learn each other’s cultures,” she said. “From what I’ve seen tonight — the outfits, the decorations — it’s all so beautiful. I want to continue to encourage our people to remain involved in the arts and culture we see here tonight.”
The cultural showcase continued with food, poetry, dances and musical performances—many choreographed by Mrs. Bharrat herself. Children took centre stage for an acrostic presentation of “DIWALI”, expressing the festival’s essence through words like Illuminate, Light and Ignite. Their message was simple but powerful: “Diwali is the festival of light. The victory of good over evil. Let’s celebrate with our friends and families.”

Music filled the night air — Arudra Bharrat played the 1949 Hindi classic “Suhani Raat” on the recorder, Mr. Elliot Gumbs delivered a moving rendition of “Mile Ho Tum” on the saxophone, and Clayton Thomas gave a powerful drum performance of “Pardesi Pardesi”. Each act brought the audience to applause, many swaying to the rhythm under the night sky. Mr. Ian Bibby also entertained the crowd by juggling glowing balls, keeping with the spirit of the occasion.
And, of course, no Festival of Lights would be complete without a dazzling display — fireworks lit up the park courtesy of Omari Bourne of the Anguilla Fire Service, closing the evening in true Diwali fashion.
For many, this Diwali celebration was a reminder of what community truly means.

That message of unity, of light shining through diversity, resonated deeply across the park. As families wrote Diwali greetings to friends and loved ones to be read aloud, it was clear that this festival — though rooted in one faith and culture — had found a new home in the hearts of many on the island.

By Janissa Fleming

There was something both grounding and uplifting about the scene at the Bethel Methodist Church Complex on Friday 17th October 2025 — a vibrant blend of madras, music, and meaning. The event, aptly titled An Evening of Showcasing Our Culture, brought together people from all walks of life to celebrate what makes us Caribbean, while supporting a cause deeply rooted in community: the Elios Centre, the family support arm of the Methodist Church Anguilla Circuit.

Guests were encouraged to come dressed in their national wear, and many proudly did. Tables were adorned with madras cloth and flags from across the region, a visual reminder of our shared Caribbean identity. The air buzzed with laughter, music, and the unmistakable aroma of dishes from St. Kitts, Dominica, Jamaica, and, of course, Anguilla. It wasn’t just a fundraiser — it was a cultural homecoming.

Moderated by media icon and cultural advocate Farrah Banks, the evening struck a perfect balance between celebration and reflection. “As a people, it is important to acknowledge and carry on our culture so that it goes on for generations to come,” Banks said. “This event not only does that, but also benefits an organisation that looks to the future as well — the Elios Centre for Family Support Ministries.”

That future-focused mission was echoed in the welcome remarks by the Chairperson of the Elios Centre’s Board of Directors, Sister Hyacinth T. Hughes. “Your presence means that you’re helping us to actually achieve our vision for the Elios Centre and Family Support Ministry. That vision says: stronger families, better communities.”

She reminded attendees that cultural celebration and community support go hand in hand. “When we do these sorts of events, we’re not only celebrating the goodness of God to us, but we’re also paying it forward,” she noted. “We need to own [our culture], and we need to celebrate it more than we actually do, because it grounds us, gives us roots, and gives us foundation.”
It was a fitting message for a night filled with rhythm, colour, and togetherness. The crowd was treated to lively performances from the Mayoumba Folkloric Theatre and Roots Binghi, both of whom kept spirits high and feet tapping. Mayoumba’s powerful blend of dance, song, and storytelling captured the soul of the Caribbean — its joy, struggle, and resilience — earning loud applause and admiration from all corners of the room.

Meanwhile, Roots Binghi provided the perfect musical backdrop as guests dined on Caribbean favourites and desserts, sampling familiar flavours and discovering new ones. There was a sense of nostalgia in the air — the kind that reminds Anguillians that culture is not just to be remembered, but lived.

Beyond the music and food, however, lay a deeper purpose. The evening’s proceeds went directly to the Elios Centre’s many outreach initiatives, including after-school programmes, the annual Pre-Teen Girls Camp, and the Boys to Men project — all of which aim to strengthen families and guide young people toward positive futures.

The Elios Centre continues to serve as the primary vehicle through which the Methodist Church fulfils its social mission. Managed by volunteers and sustained by community partnerships, the centre’s work is as spiritual as it is practical. Its after-school programme offers safe learning spaces for primary students, while the Pre-Teen Girls Camp, now in its eighth year, teaches life skills, self-esteem, and digital awareness, with support from the Lions Club of Anguilla and local church leaders such as Rev. Vincia Celestine.

A second cohort of the Boys to Men programme is already scheduled to begin in November 2025, alongside a newly restarted handicraft initiative featuring crochet classes for young girls — bridging generations through creativity and mentorship.

These are the kinds of efforts that keep the Elios Centre alive, and as Sister Hughes pointed out, community support is the lifeblood of it all.

By the end of the night, it was certain that this cultural evening was more than just an event — it was a reaffirmation of who we are and reminded everyone that culture, like community, must be nurtured, shared, and celebrated.

By Janissa Fleming

Recently, The Anguillian sat with the Chairman of the Anguilla Summer Festival, Mr. Fitzroy “Briggy” Tomlinson, for an interview relative to the just concluded two weeks of the annual national Summer festival.

Mr. Tomlinson was asked to share his views and impressions of the festival in its entirety.

“I must say that over the past weeks I was quite privileged to have the opportunity to work with a very efficient team. Everyone, from the Minister, Mrs. Shellya Rogers-Webster, to the several festival committees, worked along with me in a harmonious fashion to pull off what I consider to be a wonderful Summer Festival 2025.”

“It is amazing how our plans came together,” he reflected. “We only had little more than four months to plan within the budgetary constraints with which we were provided. Our budget was in the region of EC$1.3 Million, and through the dedication of the various committees and sub-committees we were able to make Summer Festival ’51 happen to the satisfaction of the general public.

“For me, going in as a new chairman, I was required to utilize my name, my brand, my experience and my reputation. It was never my intent to go outside of my persona to ‘strong hand’ or dominate the process. But rather, I encouraged everyone to work together in harmony for the greater good of a festival that would please the people – a festival that everyone would enjoy.”

Earlier in the planning process, I was motivated to bring on board my colleague in promotions, Production Manager, Lyndale James of St. Lucia, who was quite instrumental in assisting me with the production of a festival that was of an optimum standard.

He noted that, as it is in everything else, there were evident weaknesses even as there were outstanding strengths. “But we have a committed Minister of Culture who is more than willing and ready to put all her efforts into making it much better for the next year’s events.”

One of the obvious problems this year was the backup of traffic on the road to Sandy Ground for the beach party. “Because there was such a high concentration of traffic in Sandy Ground for that high-caliber event,” he said. “Traffic was backed up to as far as the airport roundabout, and it is reported that many patrons turned back and were not able to attend the beach party. By the same token, many folks who were able to, actually walked from George Hill to the party site in Sandy Ground.”

“This logistical nightmare, as I would call it, was not anticipated beforehand by no-one, including the traffic police. Had we expected that level of attendance, with traffic emanating from the various communities and from the Blowing Point Port, we would have put a shuttle system in place in order to alleviate the congestion – traffic control then, would not have been an issue,” the Chairman said.

He admitted that this was his greatness negative about the festival, but it will be certainly addressed for future events.

As far as the Parade of Troupes was concerned, Mr. Tomlinson said: “I think we worked with the hand that we were dealt. There were some residual issues that were brought forward from last year, and as a result many of our local troupes might not have been committed to participate this year. However, I trust that going forward they will become more enthused to participate next year.”

He noted his appreciation for the several persons who made up the troupes from neighbouring islands. He said he and the committee welcomed their exuberant participation.

Overall, Mr. Tomlinson expressed his thanks to every member of the committees and sub-committees who dedicated their hard work, time and unwavering commitment to bring the events to fruition. He praised the spirit of unity and enthusiasm that, for the most part, existed within the teams.

While he appreciates the hard work and devotion of all who played their respective roles in producing a successful festival, he particularly pointed out the efficient work of Ms. Likerah Adams, Chairlady of the Anguilla Boat Racing Association, who ably co-ordinated the several boat races, as well as his Deputy Chairman, Corwyn “Booky” Carty who consistently worked alongside him. He wishes to thank them, and everyone else for their ‘jobs well done’.

“Personable, charming”, words shared by a Gen Z to describe Omari Banks, are a reflection of how his personality resonates across generations. Personable, check. Charming, check — but as The Anguillian discovered, there’s so much more to the man than charisma and charm. What began as a simple “where-are-they-now” update turned into a revelation of character, purpose, and enduring legacy.

Music and cricket — two seemingly different worlds that, for Omari Banks, have always been closely connected. Growing up in a musical household, performance came naturally. By age seven, he was already performing publicly, earning awards like Best Male Performer and winning local singing competitions.

His first job? Singing and playing the guitar. These gigs helped fund his early cricketing pursuits. Encouraged by his mother—Donna Banks and inspired by his father—Bankie Banx, Omari pursued cricket seriously; he developed a deep love and respect for the sport and was influenced by West Indies legends like Viv Richards and Brian Lara. What began as an extracurricular activity evolved into a professional career spanning over a decade. Omari represented the West Indies Under 19 Cricket Team for three years from 17 years of age. He then moved on to become a team player in the senior West Indies Team at 20 years of age. The music and cricket connection continued: “I always traveled with my guitar,” he shared. Even while representing the West Indies cricket team from the age of 17 into his late twenties, music was never far behind. “There was a time when one of the games got rained out, and I played my guitar for about 12 hours.”

Reflecting on his transition from cricket to music, Omari points to the transferable skills that aided the transition: discipline, focus, rhythm, patience, storytelling — all honed through sport. “My time in sports taught me a lot. I grew up as a human being. I was always self-confident, but I grew up,” he said. “I gained more discipline in how I approached my goals. I’ve always been driven, but success came with sacrifices — including my formal education, where I decided to pursue my dream of being an international cricketer instead of going to college.”

During the quieter moments between tours and tournaments, Omari feeds his mind and spirit through reading. He devours books on self-awareness, mindset, philosophy, and history — works by Tony Robbins, John C. Maxwell, Deepak Chopra, Les Brown, and Malcolm Gladwell to name a few. “Books like Failing Forward and Outliers form part of my reading and in turn improvement journey. They awakened something in me and helped me broaden my song writing skills.”

His 2013 debut single “Unafraid” became Tempo’s #1 hit song that year. When asked about the inspiration behind “Unafraid”, he said: “There’s always inspiration for songs — the human experience, put into words, can inspire people where they are and guide them to where they want to be. The beauty of music is in its self-reflection and its ability to let others see themselves in your story.”

On his social media, Omari often shares heartwarming moments with his daughters — 14 year old Somaiya and 11 year old Ash? — videos of jam sessions, musical collaborations, and simply proud father-daughter moments.

When asked about this part of his life, he lit up with pride. “They were handling guitars at three and four years old. I realized from reading and observing that when it comes to children, a hands-on approach is best. I spend time teaching my girls not just how to play, but why music matters, of the legacy of their granddad, Bankie Banx, and why the skills applied to music will guide them through the ups and downs of life—spiritually, financially and experientially.”

Somaiya and Ash? have also received classical training in piano and have grown into skilled musicians in their own right. “One of my proudest achievements is giving my daughters the confidence to play guitar at a professional level. They can handle any piece, any genre that I send them — and play it verbatim.”

Beyond the music, it’s the bonding that matters most. “Even while traveling, I make sure to check in every day. The time I’ve invested in working and growing with them is one of my greatest sources of pride.” He is aware that this investment in his children will live with them into the future–not just in terms of their musical development, but in the bond that is growing between them and the memories they are creating.

So, what keeps Omari grounded? One might expect the answer to be “family or music” — but his response was more layered. “Life keeps me grounded. I wouldn’t say I’m religious, but I’m spiritual. I understand that something bigger than me exists. There’s a reason why I do what I do. I have the opportunity to pass on a legacy whether to my kids, my family, my community, my country, us as a race of people, and ultimately the world.”

He continued: “I understand that my life is not just for myself, I believe that what I do is not only very important to me, but the effect it has on people—even if people are doing something differently. I have grown to realise that things are rarely respected in real time, but I’ve also come to realise that true maturity comes when you understand that you must do the right thing.”

“Realising that there is a purpose behind what I am doing and the belief that there is a God out there that speaks to us not in a religious sense, but in a spiritual sense, that in each of us there is a need to do good, and understand whatever we put out into the universe we get that Karma in return. I believe that we should treat people how we want to be treated. I believe that when you inspire people and you lead by example, people get more that way than just by us telling them.”

Omari Banks continues to evolve — not just as a musician or former athlete, but as a thinker, father, and cultural storyteller. His story is one of balance: between passion and responsibility, talent and humility, ambition and reflection. When asked what’s next for him—he cheekily replied—”We’ll see!”

We ended the interview with the following question: If you could spend an hour with any person throughout history, who would that person be? Having to choose one person gave Omari pause—instead of one person he asked if he could give at least three. Omari’s choices speak to his awareness: music, performance, human rights and social advocacy. His choices: Stevie Wonder (musician, singer), George Benson (greatest guitarist/performer of all time) and Malcolm X (human rights activist).

If you ever happen to see Omari — guitar in hand, daughters by his side — you’ll understand that he is ever growing and evolving, but his legacy is already well underway.