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.

“Growth Doesn’t Come from Comfort” – a quote reigning Miss Anguilla, Ms. Jasmin Jade Ruan definitely lives by.

When her name was announced as Miss Anguilla 2025–2026, the first thought that popped into her head was clear and triumphant: “I did it. It was like everything clicked into place,” she said, still remembering the moment. “All the work, all the late nights, the nerves, the preparation—it all felt worth it. I felt proud, not just for myself, but for my team, my family, and everyone who supported me.”

But as anyone who’s ever seen a pageant knows, that crowning moment is just the tip of the iceberg. Beyond the glamor were weeks filled with workshops and growth seminars—sessions on networking, public speaking, self-presentation, community leadership, and personal branding. Contestants learned not only how to carry themselves onstage, but also how to speak with conviction, tackle tough interview questions, and channel their values into action. “Looking back, one of the biggest hurdles wasn’t the talent section or the walk—it was internal,” she recalled. “The hardest part of this whole experience was learning to be unapologetic in my confidence.”

Ms. Jasmin Jade Ruan has always carried quiet self-assurance, but pageantry required her to put that confidence on display. “I had to learn how to show it outwardly—how to walk into a room and own my presence without dimming myself to make others comfortable. That took real growth. Honestly, I’d never seen myself in a pageant before,” she shared. “So first, I had to get over the mental block of being onstage and performing in front of a crowd.”

When asked by The Anguillian what area of the pageant she really focused on, she answered, “The Question & Answer segment. That took the most deliberate training. My team at the Fisheries and Marine Resources Unit, along with my chaperones, really pushed me with surprise questions daily. Their biggest advice? Don’t memorize. Understand your topic. Speak from the heart. And that made all the difference.”

As a marine biologist, Ms. Ruan is passionate about the ocean. “My platform is rooted in environmental education, especially marine conservation,” she explains. “I want to help people understand how important our natural resources are—from our beaches to our coral reefs.” Her particular focus is on coral reefs, which she calls one of Anguilla’s most valuable defenses against climate change. “They’re not just pretty—they’re protective. They’re alive. They matter. And I want to make sure we protect them.”

Of course, no one gets to the stage alone. When asked who’s been her biggest support system, she doesn’t hesitate. “My chaperone team,” she says. “Kafi Wallace, Lisa Webster, Charonay Carty, and Tonya Mason—these women poured so much into me. They believed in my potential before I even did. I’ll always be grateful for their love, time, and faith.”

We enquired if she could spend an hour with just one person who would that be, she answered softly: her late grandmother, Sarah “Agatha” Ruan. “I would tell her everything—about the pageant, the journey, the win. I know she’d be so proud. I just wish she could’ve been there to see it.”

Even with the title, she’s keeping her eyes on long-term goals. Professionally, she’s aiming to pursue a Master’s degree in Tropical Marine Ecology. “I want to continue being a voice for Anguilla’s marine ecosystems—through policy, education, and action. I want to make a difference in the way we use and protect our ocean.”

Reflecting on our question of what her focus would be if she had the opportunity to start a youth group in Anguilla, she remained true to her passion for the sea. “It would be all about marine exploration. I’d love to create a youth club centered around ocean experiences—snorkeling, SCUBA diving, species identification, data collection. I want young people to fall in love with the sea, to really know it. I believe having in person experiences with the marine environment would inspire a new generation of ocean lovers and marine scientists. When you experience something personally, you care enough to protect it.”

Music appears to have a powerful, transformative impact on people, and to understand how it helped Miss Ruan stay focused, she gave us a peek at her playlist and what songs she has on repeat, “Throughout this journey I have listened to many songs that have given me strength and encouragement. Not just one but two songs immediately come to mind: My Pace by Stray Kids and Non-Stop from the Hamilton musical. Both reminded me to keep moving forward and give my all.”
To young girls in Anguilla dreaming of one day wearing the crown, she offered candid advice: “Don’t be afraid to fail. Don’t run from mistakes. Every setback teaches you something—what works, what doesn’t, what to improve. And criticism? It’s there to help you grow, not break you.” She reminisced on her own self-doubt. “You won’t always feel ready. But that’s part of the journey.”

She also offered advice to any young person chasing a dream that feels a little too big. “Growth doesn’t come from comfort. You’ve got to push through discomfort and challenges if you want to achieve your goals. Even if you don’t hit the exact mark, the process will make you stronger. You’re never wasting time by improving yourself.”

As Miss Anguilla 2025–2026 balances advocacy and authenticity, her journey is a reminder that true growth requires courage to venture beyond the comfort zone. With every challenge she embraces and every voice she uplifts, she’s not just chasing dreams—she’s inspiring a rising generation.

The Anguilla Summer Festival, which features the customary annual Carnival and Boat Racing activities, “came and went” – safely – and is now a part of Anguilla’s cultural history. Anguilla Summer Festival 2025 spanned the course of two weeks, beginning on Friday, July 25th and ending on Sunday, August 10th.

The pages of The Anguillian featured earlier events in its last edition prior to our Festival-week break. We now present commentary on other selected events of interest.

The Peter Perkins Boat Race at Sandy Ground took place on Sunday, July 27th. In the B-class small boats category, first place was taken by the “Upsetter”. In second place was “Kedro Pride”. Coming in third was “F5 Tornado”, while the “Hurricane came in fourth. The “Robb” ended up in 5th place.

In the A-class big boats category, first place was taken by “Justice”. Coming in at second was “Light & Peace”, and in third was “Satellite”. The “Real Deal” took fourth, while “Speed and Comfort” trailed in fifth.

The Miss Talented Teen Pageant was staged on the night of Thursday, July 31st. Ms. Ailyn Tavarez Sanchez was crowned as the 2025/2026 Ms. Talented Teen. She won Best Talent, Best Evening Wear, and Best Interview, garnering a total of 784 points. In the first runner-up position was Ms. Tajayne N. Summer Rogers, who won Best Inspirational Speech and was named Ms. Congeniality. In second runner-up position was Ms. Ayana Carty.

On the night of Sunday, August 3rd, the Adrian T. Hazell Primary School won the Princes and Princess Competition for the third consecutive year. Keandre Proctor and Ca’Miyah Hughes stole the spotlight from the other competing primary schools with a total of 464 points. They captured Best Talent Display. R’hayne Benjamin Richardson and Jean-Maire Halley of the Omololu International School placed first runner-up, and in the second runner-up slot was Pai’Jhon Marlin and Delicia Garraway of the Orealia Kelly Primary School.

The Talented Teen Show as well as the Prince and Princess Show were sponsored by the National Commercial Bank of Anguilla.

August 4th, culturally known as August Monday, saw three festival highlights – J’ouvert Morning, the Caribbean Beach Party at Sandy Ground, and the August Monday Boat Race. In the B-class category, first place was taken by the “Storm”, second place by “F5 Tornado”, and the “Hurricane” came in third. The “Upsetter” took fourth, while “Legal Rights” came in fifth.

In the A-class category, first place was taken by the “Sonic”. Coming in second was the “Wizard”. “Light & Peace” took third; the “Satellite” came in fourth, and in fifth was the “UFO”.

Tuesday night, August 5th, featured the much anticipated Miss Anguilla Pageant, traditionally known as the Carnival Queen Show. Ms. Jasmin Ruan from the Pond Ground was crowned Miss Anguilla 2025/2026 with a total of 1049 points. She was also named Miss Congeniality. The first runner-up position was taken by Ms. Ariel Bushay. She won Best Question and Answer. Ms. Jordia Hodge took the second runner-up position winning Best Introductory Speech, Best Swim Wear, Best National Wear, Best Talent, and Best Evening Wear. The other two contestants were Xaria Rouse and Thalia Hinds.

The major sponsor of the Miss Anguilla Pageant was the National Commercial Bank of Anguilla.
On Wednesday night, August 6th, the Landsome Bowl Cultural Center saw an array of performances as ten local calypsonians vied for the Senior Calypso Monarch crown. The winner was Roxanne “Roxxy” Webster, with 478 points, plucking the crown away from the defending ten-year champion, Anthony “Dr Splinter” Bryan. In the first runner-up position was Singing Vero, with a total of 454 points, and in the second runner-up position was Queen B with 449 points.

The Senior Calypso Monarch Competition was sponsored by ANGLEC and Motorworld. The grand prize – a 2025 GAC Emzoom GS3 was won by “Queen Roxxy”.

August Thursday, August 7th, featured two events – “Eyes Wide Shut” and the popular August Thursday Boat Races at Meads Bay. In the B-class category, first place was taken by the “Upsetter”, second was “Legal Rights”, third “De Storm”, fourth “Kedro Pride”; and fifth “Dark Shadows”.

In the A-class category, first place was taken by the “Sonic”. Second was “Light & Peace”, third “Satellite”, fourth Speed and Comfort”, and fifth “Real Deal”.

Friday, August 8th was the Parade of Troupes.

“Poker Run”, a fun-filled sporting event out at sea, took place on Saturday, August 9th. But the highlight for calypso contest lovers was the 28th Leeward Islands Calypso Monarch Competition held at the Landsome Bowl Cultural Centre.

A highly renowned annual Summer Festival feature did not disappoint again with 19-year-old Ge’Eve of Antigua and Barbuda claiming the prestigious title with 826 points. The 2024 champion Anthony ‘Dr Splinter’ Bryan surrendered his crown to Ge’Eve. The first runner-up was Queen Roxxy of Anguilla with 771 points, and second runner-up was Drewzy of St. Kitts with 761 points.

The final Summer Festival event was the Champion of Champions Boat races on Sunday 10th August. This year, in the B-class category first place position was taken by “F5 Tornado”, second place by the “Stay-Up”, third place by “Kedro Pride”, fourth place by the “Hurricane”, and fifth place by “Legal Rights”.

In the A-class big boats category, first place was taken by Light n Peace. “De Wizard” came in at second place and in third place was the “Satellite”. The “Real Deal” placed forth, while the UFO came in at fifth position.

The Summer Festival 2025 celebrations were characterized as being incident free, with sentiments regarding the safe and peaceful quality of the events echoed by the Royal Anguilla Police Force.

Chairman of the Anguilla Summer Festival is Fitzroy “Briggy” Tomlinson. He had high praises and admiration for the quality of the various festival shows, as well as the professionalism and excitement that surrounded the traditional boat racing sport.

On 11 August 2025, we celebrated World Steelpan Day, a tribute to an instrument whose metallic hum carries the heartbeat of the Caribbean. The steelpan — light, joyful, and resonant — emerged from the spirited ingenuity of Trinidad and Tobago, and its melody has since soared across the globe, eventually finding a warm home right here in Anguilla.

It all began in the 1930s, in the hills of Laventille, Trinidad. There, creative communities turned adversity into music, crafting percussion from discarded oil drums, biscuit tins, paint pots, and spoons, after colonial authorities banned traditional drumming during carnival celebrations. The earliest “pans” evolved from the Tamboo Bamboo ensembles — bamboo percussion groups — which themselves were a response to those bans.

Innovation blossomed. Winston “Spree” Simon invented the “ping-pong” pan, a small hand-held drum capable of eight notes, laying the groundwork for modern steelpan. Then Ellie Mannette, often called the “father of the modern steel drum,” revolutionised pan-making by sinking 55-gallon oil drums into concave shapes, greatly expanding their tonal range and consistency.

In 1951, the world took notice when the Trinidad All-Steel Percussion Orchestra (TASPO) performed at the Festival of Britain — marking steelpan’s first appearance on the international stage. From there, steelpan’s percussive poetry spread to the United Kingdom, the United States, Canada, Europe, even Japan and Australia, carried by Caribbean migrants and curious musical souls alike.

By the early 1960s, steelbands were contesting in Panorama, the now-iconic competition in Trinidad held during Carnival — a musical replacement for rival street gangs, settled by rhythm rather than fists and weapons. Over time, the steelpan became both a national emblem — officially recognised in Trinidad & Tobago — and a global ambassador of Caribbean identity and resilience.

Here in Anguilla, steelpan has interwoven itself into school corridors, festival plazas, and our island’s joyous gatherings. Conversations with two local stalwarts —Michael “Dumpa” Martin and Casey Richardson — reveal the deep, personal, and communal threads of this instrument in our cultural tapestry.

Antigua-born, Michael “Dumpa” Martin remembers: “1972… that’s when I took part in Panorama. I was 17 years old.” It was his introduction to pan, joining a young band in Trinidad, which ignited his lifelong devotion. He laughs now at how a musical discipline “makes you a better person. It can change your life.”

Arriving in Anguilla in 1985, Mr. Martin performed regularly at Johnno’s beach spot. He was struck by the absence of steelpan in Anguillian schools and asked himself, “What’s going to happen to the music?” By 1992, he began teaching at the Albena Lake-Hodge Comprehensive School, and also at the primary schools in 1994 – nurturing students for 29 years until he retired four years ago. He sees steelpan as more than music — it’s teamwork, a cultural sanctuary in times of violence: “It is a unity instrument… a great help to distract children from trouble. They should join a steel-pan programme… get involved in something culturally.” And his pride shines in recollecting performances abroad — Philadelphia, Hartree College workshops, even St Martin’s Day — “They were great moments that brought Anguillans and everybody together.”

His message to youth? “If you don’t quit, you’ll make it. Just hang in there. Stay with it.”
Casey Richardson’s path was more unanticipated — he recounts that he “wasn’t initially drawn to it… until I actually played the pan.” At just nine years old, that spark set him on course to become, at 25, a government-employed Music Educator teaching steelpan in Anguilla’s public schools.

He noted the steel pan’s appeal, “It’s just so unique. I’ve been exposed to several other instruments but there’s something about the ring of the pan that appeals differently.”

Casey reflects that Caribbean peoples “take pride in steel pan and embrace it as ours.” That embrace, he believes, is alive but needs stronger roots locally. He notes a “ceiling” over steelpan here — progress is visible, but the art form “exists in a bubble.”

Yet Casey’s optimism is clear: he organised a summer camp from 14 July to 8 August 2025, culminating in a local steelband, under the name, Fusion Beat Steel Band, that performed in this year’s Grand Parade of Troupes. “Seeing the instrument truly embraced by my students and the onlookers was heart-warming.”

Steelpan’s story is one of transformation — from colonial repression to cultural pride, from street performance to orchestral display. Its journey mirrors ours: vibrant, rhythmic, resilient. In Anguilla, it brings out our best in festivals, classrooms, and public spaces, softly reminding us of our Caribbean kinship.

Our island may be small, but our ears and hearts are wide: the steelpan blends into our breeze, adding a shimmer to beach gatherings, an upbeat pulse to national events, and a gentle echo in school halls. If we nurture this instrument — through schools, support, and community — it will continue to uplift and unite.

So, as we reflect on World Steelpan Day, let us celebrate not only its Trinidadian birth, but its Anguillian heartbeat too.

By the time the clock in The Valley struck eleven on August 8th 2025, the air was already buzzing with the hum of steel pans, and the restless shuffle of dancing feet waiting for the music to begin. The day marked the arrival of the much-loved Grand Parade of Troupes – and while the streets may not have been as crowded as in years gone by, the soul of carnival was unmistakably alive.
This year’s parade, smaller than last year’s, came in the wake of some unfortunate fallout from the previous festival. All of the troupes sat out the season, and the crowd along the route was noticeably thinner. But as any true Anguillian will tell you, carnival is more than numbers – it’s a state of mind, a feeling, and a connection to our heritage that refuses to be dimmed. This year, that intimacy brought its own kind of magic.

Those who came out were treated to a cultural mosaic. Visitors and returning families from across the Caribbean diaspora joined locals in celebrating the occasion. St. Kitts’ delegation brought high-stepping mocko jumbies, pounding drumlines, and waves of dancers that kept the rhythm alive. From St. Maarten/St. Martin came troupes with costumes gleaming in the midday sun, and the Dominican community added their signature flair, swaying down the road in flowing orange, blue, and white dresses – a nod to their heritage and a salute to ours.

Costumes, too, told their own stories. Feathers in shades of crimson, emerald, and violet caught the light with every turn. Intricate headpieces towered above the crowd, while bejewelled staffs and props reflected Anguilla’s cultural roots. The parade pulsed with soca beats – both the modern, bass-driven anthems and the timeless tunes that have defined Caribbean summers for decades. Anguilla’s own Exodus HD kept hips moving and spirits high, while a steel pan orchestra added a shimmering musical layer, reworking popular soca into something fresh yet familiar.

In between the troupes came the festival’s royalty – winners, runners-up, and bright young talents from the Talented Teen, Miss Anguilla, Princess and Prince, and Junior Calypso competitions, smiling and waving to well-wishers. Even under the blazing August sun, they kept their poise, basking in the cheers that followed them down the route.

The final stop, as always, was the Landsome Bowl Cultural Centre, where the announcement everyone was waiting for crowned PVI as this year’s Road March champion – their second consecutive win. The troupe’s jubilation was shared by onlookers, who knew they had witnessed a slice of living history in motion.

If this year’s parade felt like a pause – a quieter moment in the long story of Anguilla’s August celebrations – then perhaps it was the calm before the storm of feathers, sequins, and music we’ll see in 2026. Carnival, after all, is an unbroken tradition here: sometimes big, sometimes small, but always ours.

If joy had a flavour, it would taste like lobster and Mahi Mahi under the Caribbean sun. The 18th edition of Festival Del Mar, held on April 19th and 20th 2025, offered two days of sea-soaked splendour and seafood satisfaction — and Anguilla showed up hungry and happy.
Each year, this homegrown festival turns the serene Island Harbour fishing village into a lively hub of culinary indulgence, maritime competition, and cultural pride. Designed as a tribute to Anguilla’s longstanding bond with the sea, Festival Del Mar drew hundreds of residents and visitors to bask in the sunshine, the flavours, and the feel-good energy that only Island Harbour delivers.
Forget fine dining — this was fin dining. The array of seafood on offer was nothing short of oceanic excellence. Plates overflowed with buttery crayfish, succulent lobster, spiced shrimp, golden-fried flying fish, and flaky mahi mahi grilled to perfection. Soul-warming bowls of conch and whelk soup among others also kept hands busy and bellies full. For those after something hearty and local, fried jacks and Johnny cakes rounded out many meals.

Handmade goods also found their place under the sun, with vendors showcasing Anguillian-made clothing, jewelry, and wellness products, adding an artisanal charm to the already vibrant scene.

The Deep Sea Fishing Tournament made waves on Day 1, as Team Suntuz reeled in the heaviest fish of the day — a whopping 63.80lb yellowfin tuna. Team Hydrotec snagged the title for the biggest overall catch, proving that patience and bait still rule the deep.

Crowds then turned their attention to the Class B Boat Race. The sleek Alma Gloria sailed into first place, chased by De Storm, FS Tornado, Legal Rights, and Hurricane, each vessel carving through the waters with pride on full display.

The energy was just as electric on Sunday, starting with the Sunfish Race, where Joden Harrigan led the charge, followed by Clorone Rogers, Mathias Pemberton, and Roni Smith. Then came the delightful Model Boat Race, with Darante Connor claiming victory, Joden Harrigan coming in second, and Mathias Pemberton rounding out the top three.

Finally, high-stakes Class A Boat Race kicked off. In a show of speed and seamanship, De Wizard took first place, ahead of Real Deal, De Chan, Sonic, and Satellite.
Another highlight of the day was the 2nd Annual Clean Ocean Swim, where swimmers — some as young as eight — dove into the turquoise waters of Island Harbour Bay. Participants hailed from the All Nations United Swim Club Anguilla, and Anguilla Aqua Stars and were joined by swimmers from St. Martin, Trinidad and Tobago, and other islands across the Caribbean. The race, which offered half-mile and full-mile options, took swimmers around buoys that extended to the beach of Scilly Cay, and was a vibrant call for clean seas and regional unity.

From morning till moonlight, the air was thick with reggae and soca, courtesy of a rotating line-up of performers including DJs, Anguilla’s own PVI and Jamaica’s Etana, who all delivered powerful live sets that had the crowd singing and swaying. Children danced, elders nodded along, and families came together, making memories under sun-drenched skies.

A few colourful kites cut across the horizon, another nod to tradition that added to the festive feel. The jolly spirit of Island Harbour was impossible to miss — whether you were biting into a grilled lobster tail or chatting with a neighbour over a cool drink.

“Festival Del Mar is about more than seafood — it’s about who we are,” one vendor shared, his hands busy plating grilled lobsters. “It’s our way of honouring the sea that feeds us, and the people who make this island what it is.”

And honour it they did — with flavour, flair and plenty of sunshine. As the final notes of music faded and the boats returned to dock, Festival Del Mar 2025 left behind full bellies, sun-kissed cheeks and a salty reminder that in Anguilla, the sea isn’t just part of the view — it’s part of the soul.

The Anguilla Summer Festival Committee is pleased to announce da’Vida Beach Club as a Platinum Sponsor for its contribution to the 50th Anniversary of the Anguilla Summer Festival.

The Lloyd family, through their iconic establishment, da’Vida Beach Club were eager to make a significant contribution to this year’s festival, thus they decided to offer a cash contribution in the amount of XCD$174,200.00 (US$65,000.00) specifically to expand the brand presence of the Anguilla Summer Festival outside of the immediate region. In a statement issued by the Lloyd family, they explained “We are passionate about Anguilla as a whole especially with regard to culture and entertainment. We saw the opportunity to assist and decided that we wanted to do something significant and unprecedented for the festival. We wanted to help to expand the reach of the Anguilla Summer Festival’s message.”
The Summer Festival’s campaign includes appearances and interviews by committee members and other stake holders on popular media outlets including print, on air, podcasts and social media outlets. For this year, the campaign will concentrate primarily on promoting the Festival in the U.S., Canada, UK, and the wider Caribbean Region. In addition, two visual series will be produced and filmed in three different countries including Anguilla. One of the visual productions titled “50 for 50” will celebrate 50 persons who made significant contributions to the Anguilla Summer Festival over the past 50 years. A short film highlighting the importance of the festival will also be produced. To cap things off a new e-commerce website will be created and presented in short order.

To execute the campaign, da’Vida Beach Club recruited 1863 Entertainment, a US based multimedia company owned by Anguillian filmmaker and media professional Crispin Brooks. Mr. Brooks has served the Anguilla Summer Festival for over twenty years in several capacities including being a show judge, committee member and band manager. He was also the creator of the Carnival Channel. Confident in the plan and the team assembled, Mr. Brooks shared “after we execute this campaign, we intend for the Anguilla Summer Festival to be in every conversation concerning Caribbean carnivals.”

1863’s team includes Joy Mendoza, entrepreneur and Principal of Region C TV. Ms. Mendoza is a former visual and event producer and talent manager at Viacom/ Tempo Networks. Ms. Roxxi Chung of Roxxi Chung Public Relations and Digital Marketing Agency. Ms. Chung is a PR and marketing strategist based in New York City. Past and present clients include VP Records, Spice, Kranium, Anthony B, Future Fambo, Skerrit Boy and Patricia Chin. Mr. Romaro Richardson, a stellar cinematographer and editor who has collaborated on projects with the 1863 team for 10 years, Mr. Leeford Richardson, a talented budding media star on the island and Mr. Jamal Gumbs one of Anguilla’s finest photographers.

da’Vida Beach Club is excited to be a part of the Anguilla Summer Festival in this capacity. They are confident that this campaign will increase the number of visitors who will travel this summer to be a part of the Anguilla “Family Reunion.”

Ever since its demolition on the weekend of February 17th, and the commencement of swift construction work on its grounds on the weekend of March 17th many folks wondered if the redevelopment work on “The Village”, formally known as the Landsome Bowl Cultural Centre, would be completed in time to meet the July 19th, 2024 deadline.

On this date, it is expected that keys for the new state-of-the-art facility would be turned over to the Honourable Minister of Social Development Ms. Dee-Ann Kentish-Rogers so that she would be in a position to declare Summer Festival 50 open – 50 years of Anguilla’s cultural celebrations.

Notwithstanding, when one views the advanced stage at which the work has reached, hope is reinforced. The hope for July 19th, now little over three months away, can well be a reality, especially since the contractors and their teams are determined not to slack on the urgency with which the work was started on Sunday, March 17th.

Looking at the demeanor of the workers on this landmark project, it is clear to see that they are excited about carrying on the work, and they are eager to see how their constant motivation will eventually turn out towards the completion of this mammoth construction task, one of the largest public projects in Anguilla currently.

At ‘The Village’, there are two construction teams who are carrying out its redevelopment. One team is led by Mr. Greig Hughes, while Mr. Leroy Gumbs leads the other group of workmen. Greig is in charge of constructing the booths area, while Leroy is assigned to work on the stage and surrounding areas.

The Anguillian reached out to both contractors for a comment. We were not successful in contacting Mr. Gumbs, but Mr. Hughes spoke to us.

“I have a total of fifty four workers who are determined to get this work done in efficient timing,” he said. “We work constantly on this project. We work seven days a week. On Mondays to Thursdays, we work from 7:00 a.m. to 6:00 p.m. On Fridays to Sundays, we work from 7:00 to 1:00 p.m. This is how we work. I run my business like the hospitality industry, seven days a week, all the time.”

“Some people are amazed at the speed with which the work is being done here because, of course, they may have never seen us working before,” Mr. Hughes observed. “We work with speed, but we make sure to focus on all of the safety factors: both safety in the quality of our work on the project as well as safety for our workmen. By May 25th, we want to be out of here, as far as our construction and finishing tasks are concerned.”

When asked if he did not find that date to be too ambitious, Mr. Hughes answered. “We are ambitious about it yes, because that is our predetermined goal, and we are working hard to meet it.”
Provisionally, the Dart Group is financing the entire re-development of the facility in the tune of some US$4 Million. This is that company’s social contribution which is linked to its investment in the Four Season’s Resort in Anguilla.

The Honourable Minister of Works Haydn Hughes, who is, in fact, Greig Hughes’ brother, has the reconstruction of “The Village” close to his heart. Ever since its demolition, he has been reporting positively about the progress of the work.

The following are some thoughts he shared at the end of day 22 of the work on Saturday 7th April, 2024.

“And day twenty-two is in the books. It was yet another successful day of construction at the Landsome Bowl Cultural Center. The Hon. Dee-Ann Kentish-Rogers was on site to encourage and motivate the work teams. Columns were poured in preparation for the decking of the stage roof, while preparation for the final pouring of the booth building was completed. Pouring will take place on Monday, God’s willing.

“The interior of the first booths that were poured fifteen days ago will be prepared next week for plastering, while all the exterior walls of the first fourteen booths are now fully plastered. T Beams and roof of the entrance building are being prepared for another major pour on Saturday 13th April. We are marching on to the 50th. Have you booked your flight and made accommodation yet?” he said.

As the image of “The Village” ascends toward prominence, we anticipate with bated breath that indeed its predicted completion by July 19th would be a reality. Like a phenix out of the rubble it will rise as the state-of-the-art edifice that it is designed to be.

Sunshine Theatre’s Playwright, Felix Fleming, has produced a master-piece of theatrical art in the staging of the play ‘The Caged Bird’.
The premier staging took place on Friday night, December 1st, at the Morris Vanterpool Primary School and was repeated on Saturday night, December 2nd. Another repeat presentation will take place again on Friday, December 8th and Saturday, December 9th at 7:30 p.m. at the same venue.

Hosted by the Gender Affairs Unit, in collaboration with Malliouhana Fest, the play is featured as part of the 2023 Sixteen Days of Activism from November 25th to December 10th.

The main objective of the play is to bring awareness to Gender-Based Violence through the arts, allowing both young and old the opportunity to engage with the theatre art-form while being sensitized to violence in spousal relationships. The use of theatre allows the audience to be exposed to the serious repercussions of domestic violence in an environment of awareness and understanding.
‘The Caged Bird’ depicts the impact of violence on families and communities. The play explores the message that silence and inaction on the part of the subject of the violence is not an option. Rather, the play reveals that silence and inaction is an affirmation for the perpetrator that all is well and there is no need to desist from his brutish acts.

The Playwright himself, Mr. Felix Fleming, was actually commissioned by the Gender Affairs Unit to write and direct this theatrical piece. ‘“The Cage Bird’ in particular, means a lot to me,” Mr. Fleming said. “When I left Anguilla in 1958 and migrated to St. Thomas, I left with domestic violence happening behind me in Anguilla. When I came back in 1989, I discovered that domestic abuse was more pervasive than ever before.”

He said that he knew of a particular horrific death that occurred not long after he returned home, and since it happened so tragically in Anguilla, he felt just as if it happened to him. He said, “A case like that is what has influenced this play.”
Gender Affairs Unit Director, Ms. Kemoloy Murphy, said: “We have been sharing the information about this play in all circles. And we are hoping that victims can see it as something that they can attend and identify with.”

She said that because we do have that culture of silence, it is not easy to identify victims of domestic abuse, although we may know persons who are directly affected by it, due to the services that the Department provides.

“However, we are not saying that the play is only for victims or survivors or even perpetrators,” she said, “but we do want everyone to see this play because each of us in society has a role to play and we have a responsibility in our perception of the scourge of domestic violence.”

The staging of ‘The Caged Bird’ is sponsored by PAHO, the Anguilla Community Foundation, and the Gender Affairs Unit in collaboration with Malliouhana Fest.