Bequia, the maritime soul of the Grenadines

Bequia

An island apart in the Caribbean

Bequia, the second largest island of Saint Vincent and the Grenadines, covers an area of around 18 km². It may seem modest in size, but its history and identity make it a singular territory. As soon as you approach its shores, a direct link with the sea is revealed: fishing boats lined up on the sand, sailboats at anchor in Admiralty Bay, shipyards where wood crafts are perpetuated. Bequia is a land shaped by the sea, its riches and its trials.

The breath of maritime history

© Photos Wilfred Dederer © BTA 2025

Bequia’s memory is deeply linked to whaling. As early as the end of the XIXᵉ century, locals learned from American whalers how to hunt humpback whales. This practice, now classified by the International Whaling Commission as “aboriginal subsistence hunting”, remains limited to a quota of four catches per year, rarely reached. More than a resource, it is now a heritage that illustrates how an island community has built its survival on the sea.
At the same time, Bequia retains a tradition of wooden boat building. In the villages, carpenters still fashion boats by hand. Each boat is a collective work of art, reflecting skills handed down from generation to generation.

Bequia
© Photos Wilfred Dederer © BTA 2025
Bequia
© Photos Wilfred Dederer © BTA 2025

The power of nature and everyday life

The island’s landscapes are a mix of beaches, hills and viewpoints. Princess Margaret Beach, just a stone’s throw from Port Elizabeth, stretches out its blond sand bordered by almond trees. Further south, Friendship Bay opens its waters to the Atlantic, offering a livelier sea. Trails lead up to Peggy’s Rock, a peak that reveals the beauty of the surrounding Grenadines.
These landscapes are also the rhythms of daily life. Fishermen leave the bay at dawn and return laden with tuna, sea bream and lobster. The market comes to life afterwards, reflecting a way of life still centered on the sea and its resources.

Bequia
© Photos Wilfred Dederer © BTA 2025
Bequia
© Photos Wilfred Dederer © BTA 2025

A preserved island culture

Bequia
© Photos Wilfred Dederer © BTA 2025
Bequia
© Photos Wilfred Dederer © BTA 2025

With around 5,000 inhabitants, Bequia remains a community on a human scale. Musical traditions – steelband, reggae, calypso – accompany gatherings, while crafts express the local identity. Meticulously carved models of wooden boats tell of the island’s maritime past, and are on display even in the small stores of Port Elizabeth.
This attachment to the island’s heritage is also expressed in its gastronomy, which focuses on seafood. Each dish is a reminder of the balance between tradition and adaptation.

Bequia
© Photos Wilfred Dederer © BTA 2025
Bequia
© Photos Wilfred Dederer © BTA 2025

Port Elizabeth, an island crossroads

Port Elizabeth, Bequia’s modest capital, nestles at the head of Admiralty Bay. This natural harbor attracts fishermen, sailors and visiting yachts. For decades, it has been a renowned stopover for Caribbean sailing. Here, the liveliness of the anchorage contrasts with the tranquility of the lanes lined with colorful houses and small cafés. The island has not sought to become a mass destination: it favors a measured approach to tourism, based on close contact with the locals.

Bequia
Port Elizabeth. © Photos Wilfred Dederer © BTA 2025

Legacy and future

Bequia illustrates the dilemmas faced by many small Caribbean islands: preserving authenticity while securing an economic base. Controversial whaling is often the focus of debate, but it does not sum up the island. The future also relies on fishing, local agriculture, boating and handicrafts, all sectors that maintain a resilient economy.
This direction reflects a clear choice: to maintain a balance between openness to the world and respect for an identity forged by the sea.

A sensitive and human Caribbean

Bequia is not an island defined by its size or infrastructure, but by its maritime soul. Its landscapes, traditions and people make up a mosaic where every detail carries the weight of history and the hope of the future. On this island of the Grenadines, the sea is more than just a horizon: it is a memory, a resource and a promise.

Bequia
© Photos Wilfred Dederer © BTA 2025
Bequia
Bequia
© Photos Wilfred Dederer © BTA 2025
Bequia
© Photos Wilfred Dederer © BTA 2025
Bequia
© Photos Wilfred Dederer © BTA 2025
Bequia
© Photos Wilfred Dederer © BTA 2025

Leave a Reply

Your email address will not be published. Required fields are marked *

More articles from RK

Caribbean Cinema
FILM & VIDEO
Tolotra

Stories of Caribbean Cinema, Maroon Culture, Transmission, and the Imagination. Texts by Guillaume Robillard. Ciclic, 2026

The history of Caribbean cinema continues its journey through the 1980s. After three episodes devoted to the early developments of several cinematic movements in the region, this fourth installment brings together two films from Martinique and one from Curaçao. From the “marronnage” in *Le Sang du flamboyant* to the international trajectory of *Rue Cases-Nègres*, and on to the unique worldof *Almacita di Desolato*, these three works explore different relationships to memory, oral tradition, Africa, and Caribbean imaginaries. This article is the fourth installment in a series of ten. The first three are already available on Richès Karayib, and six more will continue this story through the 2020s. 1981: MARTINIQUE — *The Blood of the Flamingo*, by François Migeat This film is unique in Caribbean cinema. Indeed, its director is a “Metropolitan” (that is, a white man from mainland France who had no deep-rooted ties to the French West Indies) who

Read More »
Doubles, plat de rue de Trinité-et-Tobago composé de deux baras frits et de pois chiches au curry
CULINARY ART
Tolotra

Doubles: The Story of Emamool Deen Behind Trinidad’s Street Food Dish

In Princes Town, in southern Trinidad and Tobago, the “doubles” were born in 1936 from a simple gesture: a customer asking for a second piece of bread. At the time, Emamool Deen and his wife Rasulan were selling curry chickpeas on a single piece of fried bread, unaware that they were inventing the country’s most iconic street food. Nearly a century later, doubles still tell the story of Indo-Trinidadian heritage through this chickpea sandwich, which has become a national symbol. A Morning in Princes Town, 1936 At 4:00 a.m., in a courtyard in Princes Town, in the southern part of Trinidad and Tobago, Rasulan Deen lights the fire that will heat the coconut oil. Her husband, Emamool Deen, is boiling the chickpeas that the couple was able to buy by selling a goat, the only possession they had. The year is 1936, and according to oral tradition preserved by several

Read More »
María Elena Llorente recevant un hommage floral, Ballet Nacional de Cuba
DANCE
Tolotra

María Elena Llorente: 50 Years of Ballet in the Service of Cuba

In May 1977, a Cuban dancer took the stage in New York with the Alvin Ailey Dance Theater. In the audience that evening, actor Harry Belafonte watched the performance and would later describe the evening as a significant historical event. This dancer’s name was María Elena Llorente, prima ballerina and ballet mistress of the Ballet Nacional de Cuba. Her career spans fifty years of dance, spent almost entirely with a single company—the one founded by Alicia Alonso in Havana—on an island where, over the decades, classical ballet has become as much a source of national pride as it is an art form. María Elena Llorente, of the Sociedad Pro-Arte at the National Academy It all began at the Sociedad Pro-Arte Musical, a school in Havana where young Cuban women learned the basics of classical ballet even before the official founding of the national ballet company. María Elena Llorente then continued

Read More »

conTACT RK

we'd love to have your feedback on your experience so far

Join The List

Join our Richès Karayib community!  Sign up for our newsletter.

Want To Maximize Your Business Presence On Riches Karayib?

Complete the form to start the application