On Sunday, November 1, 118 skippers will set sail from Saint-Malo for Pointe-à-Pitre. For the 2026 Route du Rhum, Guadeloupe has taken the lead. Since October 20, it has been making its presence felt on the quays of Brittany, showcasing its entrepreneurs, rums, artists, and local flavors.
Route du Rhum 2026: The Village Where Guadeloupe Makes Its Mark
The 2026 Route du Rhum will set sail on Sunday, November 1, at 1:02 p.m., from Saint-Malo. The 118 skippers will set sail solo for a transatlantic crossing of approximately 3,542 nautical miles—more than 6,560 kilometers as the crow flies. In practice, the journey will be longer, as winds, currents, and weather conditions will force them to take detours. Some sailors may spend up to a month at sea. Six classes of boats are competing, including monohulls and multihulls, such as the IMOCA 60s.
The race has been held every four years since 1978. But preparations for the start have been underway on land since October 20, in a village set up on the main pier in Saint-Malo. It is open from October 20 to November 1—a total of thirteen days—and welcomes sailors, fans, and visitors from around the world. Guadeloupe holds a special place there. Its pavilion brings together nearly fifty businesses from the archipelago, and the Guadeloupe Regional Council has a booth dedicated to culture, cuisine, and tourism. The pavilion is designed to serve as an introduction to the islands through crafts, cuisine, heritage, entrepreneurship, and innovation.
Visitors first discover a Creole market, featuring processed food products, artwork, and handicrafts. Next come the street food delights, including bokits—stuffed fried bread—fish accras, and coconut sorbet. The archipelago’s rums and spirits have their own section, featuring the Bologne Distillery, the race’s main rum partner. Tourist offices and the airline Corsair provide information to prospective travelers.
Guadeloupean Entrepreneurs Tackle the French Market
For exhibitors, the village is first and foremost a commercial showcase. There, they display their products, make sales, and establish contacts with French and European distributors. Some are already familiar with major events, such as the Foire de Paris and the Salon de l’agriculture. Others are participating for the first time. The village allows them to meet these buyers, who are all gathered in one place.
Caraïbe Fumé offers smoked fish there. Artisan ice cream maker Eddy William showcases his ice creams there. Nautique Blue Caraïb promotes a more unique concept: sailing accessible to a wide audience, including people with limited mobility. At an event dedicated to sailing, this presence takes on its full meaning. Rum producers—whose agricultural rum is exported as far as Japan—can also take advantage of the event to strengthen their distribution agreements.
Concerts, a carnival, and an exhibition in the heart of the village
The program isn’t limited to commerce. Concerts, cultural performances, exhibitions, documentary screenings, and tourism conferences punctuate the days. These conferences address the blue economy—that is, activities related to the sea—as well as culture. Chef Jean-Rony Leriche, an award-winning chef, leads cooking demonstrations.
On stage, Le Saint-Félix, Daddy Yod, and Leïla Chicot are among the Guadeloupean artists on the lineup. Donzèl is hosting a carnival party. Meanwhile, the carnival group Maskaklé is presenting a photography exhibition at the Bidouane Tower. A children’s area rounds out the family-friendly program.
Saint-Malo and Guadeloupe: A Bond That Goes Beyond the Race
The relationship between the two regions has been developing over several editions. It is based on cultural and economic exchanges. The race connects Brittany to Guadeloupe, and this village is its onshore counterpart. The village serves as a meeting place for Guadeloupeans living in Paris and elsewhere in mainland France, for the families of Guadeloupean skippers, and for institutions from the archipelago. They all make the trip to Saint-Malo for the November 1 departure. For the skippers’ families, this journey holds special significance, as they see a loved one set off on a solo crossing.
Guadeloupe’s maritime heritage remains alive and well, from traditional sailing to the Saintois canoe races, all the way to offshore racing. A new generation of Guadeloupean skippers is now flying the archipelago’s colors on the ocean. A few days after the start of the race, the first sailboats will reach Pointe-à-Pitre. The contacts and contracts forged in Saint-Malo will determine whether this showcase has lived up to its promise.
Frequently Asked Questions About the 2026 Route du Rhum
The 2026 Route du Rhum will set sail from Saint-Malo on Sunday, November 1, 2026, at 1:02 p.m. A total of 118 skippers will race solo to Pointe-à-Pitre, in Guadeloupe.
The theoretical straight-line distance between Saint-Malo and Pointe-à-Pitre is approximately 3,542 nautical miles, or more than 6,560 kilometers. The actual journey is longer.
Guadeloupe is hosting nearly fifty businesses, a Creole market, bokits, accras, rum, concerts, and cooking demonstrations. The village is open through November 1.
The flight from Pointe-à-Pitre to Juliana from Air Caraïbes will begin operating on January 8, 2027, with daily flights lasting 50 minutes. This comes after the liquidation of Air Antilles, which had been competing with Air Caraïbes on the route between Saint Martin and Guadeloupe. Fares, schedules, and key considerations—here’s what you need to know before booking. The new route opens up the island’s Dutch airport to travelers from Guadeloupe and Martinique. Air Caraïbes announced it in mid-October during a press conference at the Simpson Bay Resort in Sint Maarten. Karen Virapin, CEO of Air Caraïbes, promised “greater flexibility and more travel options.” The aircraft will be an ATR 72-600.
Pointe-à-Pitre to Juliana Flights: Schedules and Prices
The flight will operate daily, with three schedules during the winter. On Mondays and Thursdays, the flight departs from Pointe-à-Pitre at 10:10 a.m. and arrives at 11:00 a.m. On Tuesdays, Fridays, and Saturdays, the flight departs at 4:10 p.m. On Wednesdays and Sundays, it departs at 1:35 p.m. The return flight departs from Juliana approximately 30 minutes after arrival.
Tickets have been on sale since October 15. Round-trip fares start at 199 euros from Pointe-à-Pitre and 249 euros from Fort-de-France. This is a Basic fare, which includes one 5-kg carry-on bag but no checked baggage. The ticket is non-refundable but can be changed under certain conditions. Passengers traveling with checked luggage should therefore review the baggage policies before purchasing.
One detail changes how the price is interpreted. Of the 199 euros, 117.96 euros are taxes and fees, or nearly 60 percent. The airline guarantees this lowest price through December 31, 2027, for reservations made no later than 60 days before departure. However, it may be adjusted in the event of increases in fuel costs or taxes. The Flight from Paris-Orly to Juliana has also resumed service since October 15, on Mondays and Thursdays, using an Airbus A350. On other days, passengers must fly via Pointe-à-Pitre. The airline thus highlights that it offers flights to Paris seven days a week.
One island, two airports
Saint Martin is divided between two countries, covering 87 km², of which 53 km² are on the French side and 34 km² on the Dutch side. Juliana is located on the Dutch side. In 2025, Sint Maarten recorded 855,994 air arrivals, compared to 107,165 in Grand-Case on the French side. For residents of Guadeloupe, the Pointe-à-Pitre–Juliana flight therefore opens the door to the main island airport, with connecting flights to the Caribbean and the Americas.
Air Caraïbes assures that this route is in addition to the one to Grand-Case, without reducing the number of flights. The airline estimates that this will add approximately 54,000 additional seats per year between Guadeloupe and Saint Martin. Since this summer, the airline has also been operating nonstop flights from Fort-de-France to Grand-Case, with up to three flights per week during peak demand periods.
Air Antilles: From Restructuring to Liquidation
This project is coming at a time when the landscape has changed. Air Antilles, a public-private partnership in which the Collectivité de Saint-Martin held a 60% stake, had resumed flights in July 2024. On December 9, 2025, the Directorate General of Civil Aviation suspended its air operator’s certificate following an audit, and the aircraft remained grounded. The Pointe-à-Pitre court ordered its liquidation on April 27, 2026. Its 116 employees lost their jobs. Since then, Air Caraïbes has remained the main operator of flights between these islands. The representative Frantz Gumbs had warned that, without competition, prices would rise and some people would stop traveling.
Monopoly or a fragile network?
Air Caraïbes rejects the notion that it is taking advantage of the situation. Paul-Henri Dubreuil, president of the Dubreuil Aéro group, asserts that its prices have not increased. He cites a round-trip flight between Pointe-à-Pitre and Saint Martin priced at 199 euros, of which approximately 112 euros are taxes, leaving about 87 euros for the airline. He criticizes the high tax burden on regional ticket prices. These figures are provided by the airline. It is still too early to say how fares will change by 2027.
Will the Pointe-à-Pitre–Juliana flight offer travelers from Saint Martin a real choice, or will it simply shift traffic from one airport to another? We’ll find out after January 8, when the first passengers board the flight.
Frequently Asked Questions
January 8, 2027. Air Caraïbes will operate this route daily using an ATR 72-600, with a flight time of approximately 50 minutes, and tickets have been on sale since October 15, 2026.
Starting at 199 euros for a round-trip flight from Pointe-à-Pitre and 249 euros from Fort-de-France, on the Basic fare (5 kg of carry-on luggage, no checked baggage, non-refundable ticket). These prices include taxes and fees.
The company was liquidated on April 27, 2026, by the Pointe-à-Pitre court, following the suspension of its air operator’s certificate by the DGAC on December 9, 2025. It employed 116 people.
With just a few days to go before the 2026 Route du Rhum, Kéni Piperol is preparing for his second solo Atlantic crossing. Four years after his first attempt, which was marred by mechanical trouble, the Guadeloupean sailor is now aiming for a Top 15 finish in the Class40 category. With DrépaVoile, his ambition extends beyond the rankings, as he is combining this new adventure with the fight against sickle cell disease, outreach to young people, and artistic creation.
On Friday, October 16, at 10:30 p.m. according to his crew, Kéni Piperol set sail from La Trinité-sur-Mer aboard his Class40, DrépaVoile. The start of the voyage to Saint-Malo was eventful. In rough seas, with gusts reaching 23 knots, the sailboat quickly found its rhythm and maintained a reported average speed of 12 knots throughout the night. At daybreak, conditions eased along the Breton coast.
This voyage will take the boat to the starting port of the Route du Rhum, whose 13th edition will set sail on November 1 toward Pointe-à-Pitre. It’s one last leg before returning to the Atlantic, but above all, it’s another opportunity for the sailor to reflect on how far he’s come since his first participation.
Kéni Piperol: From 37th Place to Aiming for the Top 15
On December 5, 2022, Kéni Piperol crossed the finish line of his first Route du Rhum in Pointe-à-Pitre. He finished 37th in the Class40 division, after a crossing that lasted more than 26 days. However, the result told only part of the story of his race. While he was leading his class, a leak forced him to head to La Coruña, Spain, to make repairs before setting sail again.
This experience is part of a journey that began long before his major crossings. Born in Paris in 1996 and raised in Morne-à-l’Eau, Guadeloupe, Kéni Piperol discovered sailing at age ten during a camp organized over the school break. He then continued his training and turned to competitive sailing, notably in the Mini 6.50 class, before moving on to the Class40 category.
Today, the skipper has set himself a more challenging goal. He hopes to finish in the top fifteen in his class aboard DrépaVoile, a 12.19-meter Mach 40.5 launched in 2023. His experience from previous races fuels this ambition, but his 2026 project is not limited to performance alone.
DrépaVoile, a boat dedicated to the fight against sickle cell disease
The name DrépaVoile reflects one of the main causes championed by Kéni Piperol. Through his participation in the Route du Rhum, the sailor hopes to raise public awareness of sickle cell disease, a genetic blood disorder that particularly affects populations in the Caribbean.
His commitment is supported by several organizations, including the Association for Information and Prevention of Sickle Cell Disease (APIPD), chaired by Jenny Hippocrate, and Drépaction. Together, they aim to leverage the visibility of the transatlantic voyage to raise awareness about the disease and give a greater voice to those affected.
Jenny Hippocrate explains that Kéni Piperol was chosen for his perseverance and his ability to keep moving forward despite difficulties. She draws a parallel between the demands of ocean racing and the daily challenges faced by people living with sickle cell disease. The challenge is to spread this message beyond the usual circle of advocacy groups. Between Saint-Malo and Pointe-à-Pitre, every stage of the adventure can become an opportunity to talk about prevention and raise awareness.
Guadeloupe's youth are embarking on an adventure
Before heading to Saint-Malo, Kéni Piperol visited several classes in Guadeloupe. In early September, presentations were held in Petit-Canal, Les Abymes, Anse-Bertrand, and Pointe-à-Pitre, among other places. On September 3 at Massabielle 2 School in Les Abymes, students learned about his daily life as a sailor and asked him questions about life at sea.
These exchanges will continue throughout the race via the Virtual Regatta and ” Vis ma vie de skipper” programs. The first program offers a simulation-based approach to sailing, while the second provides updates on the crossing and opportunities to learn about maritime careers.
The project thus goes beyond a simple sports presentation. It connects geography, science, languages, and career exploration to an adventure that students can follow from their classrooms. For these children, the ocean separating Saint-Malo from Guadeloupe also becomes a space for learning.
See also: “Van Lévé,” the mini-yole that invites you to take the helm, a Martinican initiative distinct from that of DrépaVoile.
When Guadeloupean Art Sets Sail with DrépaVoile
The cultural dimension of the project is also reflected in the boat’s artistic identity. Guadeloupean street artist Pock created a design centered on the poppy, chosen as a symbol to raise awareness of sickle cell disease. Featured on the hull, this artwork prominently highlights the sailor’s commitment to solidarity.
The FORE Foundation is also supporting an artistic initiative centered on sails, with the goal of turning the boat into a canvas for creativity. The project brings together several artists and features a work of art designed to cross the Atlantic. This initiative is set to continue after the race. Wax Islands is set to transform a sail into various objects, with proceeds from their sale going to support the APIPD. Through these collaborations, DrépaVoile brings together worlds rarely found on a racing boat: sailing, the visual arts, and community engagement.
A Second Route du Rhum, Multiple Goals for Guadeloupe
On November 1, 2026, Kéni Piperol is set to return to the starting line of the Route du Rhum, four years after his first participation. His competitive goal is clear: to improve on his 37th-place finish and close the gap on the top Class40 boats.
But the success of this second adventure will not be measured solely by its ranking. It will also depend on what DrépaVoile has helped convey, from the young people introduced to the realities of the maritime world to those who have become aware of sickle cell disease, not to mention the Guadeloupean artists involved in the project. Upon arrival in Pointe-à-Pitre, the race will come to an end. It remains to be seen how the initiatives launched around the boat will continue to thrive in Guadeloupe.
Frequently Asked Questions About Kéni Piperol
Kéni Piperol-Dampied is a Guadeloupean sailor, born in 1996, who competes in offshore races. After finishing 37th in his category at the 2022 Route du Rhum, he is preparing for his second appearance in 2026 with DrépaVoile.
Kéni Piperol is aiming for a spot in the top 15 in the Class40 category at the 2026 Route du Rhum. He plans to sail on DrépaVoile, Class40 No. 195, a Mach 40.5 launched in 2023.
The name DrépaVoile highlights its commitment to raising awareness about sickle cell disease. The project includes, among other things, activities carried out in partnership with the APIPD, as well as educational and artistic initiatives in Guadeloupe.
Union activist Jacky Richard says he wrote the chorus spontaneously, in the midst of the 2009 strike. He didn’t yet know that those few words would come to symbolize an entire movement. “Gwadloup sé tan nou” became the anthem of the LKP, the collective that brought Guadeloupe to a standstill for several weeks. This article explains what “Gwadloup sé tan nou” means, how the song emerged from the strike, and why a single pronoun was enough to get an entire island singing.
“Gwadloup sé tan nou,” a title that consists of just one pronoun
In Guadeloupean Creole, “Gwadloup sé tan nou” means “Guadeloupe belongs to us.” Everything hinges on “nou,” the first-person plural pronoun, this “us” that brings people together. The chorus asserts that the island belongs to its inhabitants, not to a privileged minority. The phrase is short, rhythmic, and easy to chant in a procession.
Guadeloupe at a Standstill, from January 20 to March 4, 2009
On January 19, the island’s 115 gas stations closed. The next day, January 20, 2009, the LKP launched a general strike. Its full name, Liyannaj kont pwofitasyon, translates to “Collective Against Excessive Exploitation.” It brings together 48 organizations, mostly unions, but also political parties and cultural associations.
The LKP has put forward 146 demands, including a raise of at least 200 euros for low-wage workers and a reduction in taxes and profit margins on basic necessities. It is also calling for a minimum wage specific to Guadeloupe, based on the actual cost of living. This anger is backed by statistics: a cost of living approximately 30% higher than in mainland France and an unemployment rate of 27% in 2007. The demonstrations on January 24, 29, and 30 drew between 20,000 and 65,000 people, according to estimates. On March 4, a memorandum of understanding was signed with the government, and its extension to all businesses was announced on March 7.
In this movement, music is not just a backdrop. Among the members of the LKP are two associations with a strong focus on music, Akiyo in Pointe-à-Pitre and Voukoum in Basse-Terre, both of which are active in the carnivals. Drums and voices are everywhere at the demonstrations. Jacky Richard’s chorus thus lands on fertile ground, a crowd that knows how to sing together.
Gwoka, a School of Protest Songs
This fusion of song and struggle is by no means improvised. Gwoka, a drum-based musical tradition that originated during the era of slavery, has long been used to express both anger and joy. Around 1968, Guy Konkèt helped revive it and adapt it to the concerns of the 1970s. In the 1980s and 1990s, it was often associated with the independence movement, a label that carries far less weight today. Whenever there was major political or social tension, songs had already emerged in Guadeloupe. In 2009, it was Jacky Richard’s song that stood out.
Why “Gwadloup sé tan nou” Crossed the Ocean
The song didn’t stay on the island. Protesters sang it in Paris to support the strikers from Guadeloupe. It was also sung in the protest marches in Martinique. In Guadeloupe as in Paris, the same chorus serves as a rallying cry. Its success stems from the fact that it encapsulates in a single sentence anger, discontent, and hope—three sentiments that many shared at the time.
For its author, it wasn’t just about the high cost of living. It denounced an entire system that favors a minority at the expense of others. A chorus that draws a line inevitably raises the question of who is on the other side. The answer lies less in a specific group of people than in a system, and that is what sets “Gwadloup sé tan nou” apart from a mere slogan. The song gave the strike a voice that is recognizable within just a few notes.
Who is this “we” today?
The title raises a question that goes beyond the strike. What does “we” mean in Guadeloupe, an island shaped by slavery, colonization, and the arrival of indentured laborers, particularly those from India? The strike ended in March 2009, but the question posed by the chorus remains. Everyone has their own answer, and that is what gives “Gwadloup sé tan nou” its power, seventeen years later. So sometimes, a three-letter pronoun is enough to spark an entire debate. After “nou,” what other Caribbean expression deserves to be decoded?
FAQ on “Gwadloup sé tan nou”
In Guadeloupean Creole, “Gwadloup sé tan nou” means “Guadeloupe belongs to us.” It all hinges on “nou,” the pronoun “we,” which affirms that the island belongs to its inhabitants and not to a privileged minority.
Union activist Jacky Richard says he wrote the chorus spontaneously, in the midst of the 2009 strike. The song became the anthem of the LKP, the collective that brought Guadeloupe to a standstill for several weeks.
LKP stands for Liyannaj kont pwofitasyon, or “Collective Against Excessive Exploitation.” It brings together 48 organizations. Its general strike began on January 20, 2009, and a memorandum of understanding was signed with the government on March 4, 2009.
Organized by the Caribbean Chamber of Commerce in Europe (CCCE), the second edition of Caribbean Days brought together various expressions of Caribbean culture at UNESCO headquarters in Paris. Over the course of four days, the event provided a forum for dialogue on regional cooperation, sustainable tourism, and economic relations between the Caribbean and Europe.
A Caribbean-style restaurant with a view of Paris
On the roof of UNESCO, Caribbean chefs from the association Les Toques françaises are preparing a three-course Caribbean menu. From the restaurant, guests can see the Eiffel Tower, Les Invalides, and the Left Bank. This scene captures the spirit of the Caribbean Days : to showcase the Caribbean through its creative works and craftsmanship, and then use this cultural presence to foster broader exchanges.
The Caribbean Chamber of Commerce in Europe (CCCE) organized this second edition as part of Latin American and Caribbean Week. Under the theme “Peace, Diversity, and Sustainability,” the event brought together representatives from the cultural, institutional, diplomatic, and economic sectors.
Over the course of four days, the program featured the visual arts, gastronomy, fashion, film, literature, poetry, music, and dance. These disciplines showcased various facets of Caribbean creativity in a venue dedicated to education, science, culture, and heritage.
Creative Industries Take Center Stage
The Caribbean Days highlighted the creative industries as one of the region’s strengths. Cuisine, fashion, film, storytelling, music, and dance served as points of connection between different regions and sectors.
This diversity brought together Caribbean ambassadors, other diplomats, representatives from the public sector, and private-sector stakeholders. Culture thus provided a common framework for discussions on development, investment, and partnerships.
Founded in November 2019, the CCCE’s mission is to facilitate exchanges between the Greater Caribbean and Europe. It also seeks to encourage European investment in the region’s sustainable economic development. In Paris, this mission has taken the form of meetings between institutions, businesses, and Caribbean representatives.
Regional Cooperation Over Lunch
A luncheon discussion focused on cooperation between France’s overseas territories in the Caribbean and CARIFORUM member states. Representatives from the Bank of France, Expertise France, and the OECD gave presentations.
The remarks by French Senator Micheline Jacques, who supports an economic partnership between France’s overseas territories and Haiti, refocused the debate on a concrete question: How can we strengthen ties among the various parts of the Caribbean region?
Through this event, the Caribbean Days brought culture, diplomacy, and the economy closer together. Gastronomy was not merely a backdrop; it served as a framework for dialogue on potential areas of cooperation and on the Caribbean’s role in its relations with Europe.
Sustainable Tourism in the Face of Climate Change
A roundtable discussion was held on sustainable tourism. Geoffrey Lipman, former president of the World Travel and Tourism Council and former deputy secretary-general of the World Tourism Organization, participated alongside Florian Valmy-Desvillers, director of business development for the Caribbean Tourism Organization in the United Kingdom and Europe.
Jo Spalburg, Secretary General of the CCCE, summarized the main message of these discussions. According to him, the acceleration of climate change makes it necessary to develop tourism that is more sustainable and more beneficial to local communities. These communities play a direct role in protecting the region’s natural and cultural heritage for future generations.
This reflection gives the Caribbean Days a specific scope. It links the promotion of Caribbean destinations to the responsibility of preserving what attracts visitors: landscapes, cultural heritage, cultural practices, and local knowledge.
From Cultural Visibility to Partnerships
As this second edition comes to a close, the CCCE is highlighting a collective goal: to transform cultural visibility into collaborations, innovation, and sustainable growth for the region.
The Caribbean Days have shown that culture can foster dialogue among diplomats, institutions, businesses, and creative professionals. What happens next will depend on the ability of the partners gathered in Paris to turn these exchanges into concrete partnerships that benefit Caribbean regions and communities.
Caribbean Days, also known as Journées des Caraïbes, is an event organized by the Caribbean Chamber of Commerce in Europe at UNESCO headquarters in Paris. Over the course of four days, the second edition of the event showcased the visual arts, gastronomy, fashion, film, literature, poetry, music, and dance. The event took place under the theme “Peace, Diversity, and Sustainability,” as part of Latin American and Caribbean Week.
Caribbean Days is organized by the Caribbean Chamber of Commerce in Europe (CCCE). Founded in November 2019, this organization seeks to facilitate exchanges between the Greater Caribbean and Europe, while encouraging European investment in the region’s sustainable economic development. In Paris, the CCCE brought together representatives from the cultural, diplomatic, institutional, and economic sectors to discuss Caribbean culture and challenges.
Caribbean Days combined the promotion of creative industries with discussions on regional cooperation and sustainable tourism. A luncheon forum focused on relations between France’s overseas territories in the Caribbean and CARIFORUM member states. A roundtable discussion also addressed the effects of climate change and the need to develop more sustainable tourism that better benefits local communities working to protect the region’s natural and cultural heritage.
On June 2 and 3, 2026, public and economic players from Guadeloupe, Antigua and Barbuda, Dominica and St. Kitts and Nevis sat around the same table in Guadeloupe to work on a very concrete question: how can we better connect nearby islands, whose exchanges are still hampered by transport breaks? The first KARULINK steering committee is not yet launching new lines. It is setting up a method, partners and a timetable to examine the feasibility of regular maritime passenger services.
A first COPIL to move from principle to method
This meeting marks an important milestone for KARULINK, a European territorial cooperation project co-financed by the European Union as part of the INTERREG Caribbean 2021-2027 program. Discussions focused on three areas: feasibility studies for future maritime services, the development of more environmentally-friendly transport solutions, and prospects for economic and tourism cooperation between the partner territories.
This framing is essential. There’s more to a sea link than simply putting a ship out to sea. We need to study the possible flows, the ports involved, land connections, operating costs, standards, security, timetables, ticketing and passenger reception. The entire travel chain needs to be considered. This is one of the challenges of the project’s intermodal approach: to make it easier for passengers to switch from one mode of transport to another.
A Guadeloupean project with a Caribbean scope
KARULINK is led by the STEP Group in Guadeloupe, with several economic and institutional partners: the Antigua and Barbuda Chamber of Commerce, the Dominica Association of Industry and Commerce, the St. Kitts and Nevis Chamber of Industry and Commerce, the Communauté d’Agglomération La Riviera du Levant and the Ville de Bouillante. The project is scheduled to run until December 31, 2027.
Data published by INTERREG Caraïbes indicate a period running from January 4, 2025 to December 31, 2027, with a total cost of 1,868,743 euros, including 1,143,896 euros from the ERDF and 444,535 euros from the EDF. These amounts place KARULINK within a structured, financed and European framework, with measurable objectives.
The sea as a space for cooperation
The appeal of KARULINK lies in its starting point: the sea can once again become a space for traffic, work and cooperation between nearby islands. The project aims to strengthen connectivity within the Guadeloupe archipelago, while exploring new routes to Dominica, Antigua and St. Kitts. It also combines broader objectives: stimulating the tourism economy, promoting low-carbon transport, creating local jobs and developing training in maritime and land transport professions.
This is an important dimension for the Eastern Caribbean. The territories concerned share geographical proximity, commercial exchanges, family ties, tourist traffic and economic needs. Yet regional mobility remains a sensitive issue, as it depends on public decisions, private operators, technical constraints and fragile economic balances. KARULINK should therefore prove that cooperation can produce concrete solutions.
A response to the challenge of regional integration
The project is part of the “A more connected Caribbean” priority of the INTERREG Caribbean program. This priority includes a specific objective dedicated to sustainable, intelligent and cross-border mobility. It corresponds to the stated ambition of reducing obstacles to inter-island mobility and promoting economic, tourist and human exchanges.
For Guadeloupe, the stakes are also strategic. As one of Europe’s outermost regions in the Caribbean, it is seeking to better integrate into its regional environment. KARULINK gives it a pivotal role, not to speak on behalf of other territories, but to build useful, realistic and sustainable links with them.
The next stage will be decisive
At this stage, the available information points to feasibility studies, coordination between partners and preparation of the next steps. Future routes have yet to be defined: routes, frequency, fares, ships, ports and operating partners.
This is where KARULINK will be needed. If successful, the project could provide the Eastern Caribbean with a concrete example of maritime cooperation, at the service of inhabitants, visitors, businesses and territories. June 2 and 3, 2026 have not yet changed the transport map. But they did lay a foundation stone: that of Caribbean mobility conceived from within the region, with its constraints, needs and ambitions.
KARULINK is a European territorial cooperation project designed to strengthen maritime connectivity between several territories in the Eastern Caribbean. It brings together Guadeloupe, Antigua and Barbuda, Dominica and St. Kitts and Nevis, with a concrete objective: to study the establishment of regular maritime passenger links, improve transport intermodality and facilitate economic, tourist and human exchanges between the islands.
The KARULINK project mainly concerns Guadeloupe, Antigua and Barbuda, Dominica and Saint Kitts and Nevis. On the Guadeloupe side, it involves Groupe STEP, the Communauté d’Agglomération La Riviera du Levant and the Ville de Bouillante. The project is in line with a regional approach: to better link geographically close territories, which are still hampered by transport, coordination and organization constraints for maritime flows.
KARULINK is important because it addresses a central issue in the Caribbean: the difficulty of moving easily between islands that are nevertheless neighbors. By working on maritime services, more sustainable transport solutions and better cooperation between public and private players, the project can help strengthen regional integration. It can also support tourism, economic exchanges, family ties and the movement of people in the Eastern Caribbean.
When luxury is more than just décor
For a long time, luxury in the international hotel industry was measured by the thickness of the marble, the height of the ceilings, the scarcity of objects in the rooms. Some of this grammar still exists. But another, potentially more profitable, is emerging. Cultural luxury is gaining in importance. It is measured by the quality of the connection a traveler can establish with the place he or she is visiting.
This evolution is documented in Travel Dreams 2026: From data to delight, a report published by Amadeus in April 2026, based on a survey conducted by Opinium Research in the fourth quarter of 2025. Asked about the sensations they seek in a destination, 24% of the 6,000 travelers cited “connection to a place: food, experiences, special moments”. This was the second most frequent response, behind freedom. As far as hoteliers are concerned, the figure is becoming strategic: 44% of the 500 general managers surveyed across nine countries identified “concierge and guided experiences” as one of the two main drivers of growth in non-room revenues, on a par with social events.
What travellers are really looking for
In other words, what travelers are looking for, and what hoteliers worldwide are beginning to monetize in earnest, is the same thing: access to living culture. Cultural luxury is not just about décor or service levels. It’s about creating the right relationship between the visitor, the area and the people who bring it to life.
The Amadeus report goes further, putting a figure on what it calls “local experience kits”: neighborhood guides, handcrafted souvenirs, connections with cultural players. It estimates that a mid-range hotel could generate over $243,000 in additional annual revenue from this type of service, based on a guide price of $20 per kit. Nearly a third of business travelers who extend their stay for leisure purposes say they are prepared to pay more than 15% above the average rate for this type of service. With this in mind, cultural luxury is also becoming an issue of business model, not just image.
The Caribbean's value is still under-structured
This fact is particularly relevant to the Caribbean. The region’s cultural heritage is alive and well, but still unevenly structured in terms of tourism and hotel offerings. The Kalinago traditions of Dominica, the Creole languages spoken from island to island, the memory of ancient maritime routes, syncretic ritual practices, culinary know-how handed down outside the formal circuits: all this constitutes a capital that still largely escapes the logics of standard hotel valorization. And yet, this is precisely where cultural luxury can find its most solid footing.
Exceptions do exist. Some independent hotels in the Caribbean have long understood that having a traveler dine in a local market, meet with an artisan or enjoy an hour’s silent walk in a heritage district creates a value that is difficult to compare with a standardized spa facility. But these initiatives often remain isolated, barely visible in destination communications, and rarely structured as a coherent economic proposition. To turn cultural luxury into a sustainable lever, we need to move on from one-off initiatives to a clear, profitable offering that respects local players.
Local experiences to be organized differently
The Amadeus report identifies a potentially game-changing trend. According to the study, 41% of hotels surveyed have already created packages linked to regional concerts, cultural events or popular TV series, and 38% plan to do so within the year. The traveler of 2026 no longer comes just to see a place. They come to enter into a relationship with it, through proposals that are constructed, told and embodied. This shift towards cultural luxury is exactly the kind of proposition that the Caribbean can articulate, provided its economic players work together.
This implies a number of shifts. Firstly, we need to move away from competition between islands and think in terms of pan-Caribbean offerings, where the richness of each territory complements rather than cannibalizes each other. Secondly, we need to professionalize the way in which our cultural heritage is presented: not by folklorizing it, but by presenting it with the editorial and visual rigor expected by a well-informed international traveler. Finally, we need to structure the economic relationship between hotels, local cultural players and experience operators, so that the value generated benefits the regions and not just international intermediation platforms. Caribbean cultural luxury can only be as strong as the people who bring it to life.
A journey that also promises personal transformation
Another statistic in the report is worth noting. Asked what they hope to bring back from a trip, 18% of travelers surveyed cite “a new version of themselves: clearer, lighter, more intentional”. This figure rises to 39% among travelers surveyed in China. For Caribbean destinations seeking to diversify their source markets, this signal deserves attention. It does not allow us to generalize to all Asian markets, but it does show that some travelers already associate travel with a form of personal transformation.
Enhancing without diluting
In 2026, cultural luxury is no longer sold in rooms alone. It’s sold in encounters. In hours. In presence. The Caribbean has what it takes to meet these expectations. All that remains is to organize it, to tell its story, to enhance its value without diluting it.
Cultural luxury is a new way of thinking about high-end travel. It’s not just about the comfort of a hotel, the quality of a room or the presence of exclusive amenities. It’s built around the relationship between the traveler and the territory visited. In tourism, this can take the form of a meeting with an artisan, a meal prepared with local produce, a guided tour by a local, or an experience that provides a better understanding of a place’s history, languages, practices and memories. Cultural luxury therefore gives value to that which cannot easily be copied: the living identity of a territory.
Cultural luxury represents a major opportunity for the Caribbean, as the region boasts a rich living heritage: Creole languages, culinary traditions, historical memories, music, craft skills, community practices and indigenous or Afro-descendant heritages. Yet some of this richness remains unstructured in conventional tourism offerings. By developing better-organized local experiences, Caribbean territories can create new revenue streams, boost the attractiveness of their destinations and better involve cultural players in the value generated by tourism. The challenge is not just economic: it also concerns the transmission, recognition and preservation of local identities.
Caribbean hotels can develop cultural luxury by working directly with local players: artisans, guides, chefs, artists, historians, cultural associations, heritage communities and experience operators. The aim is not to turn culture into décor, but to build respectful, rewarding and well-told propositions. This means choosing legitimate partners, presenting traditions accurately, avoiding clichés and guaranteeing that income actually benefits the people who carry this knowledge. A solid cultural luxury doesn’t put culture on display: it creates a fair encounter between the visitor, the place and those who bring it to life.
“WHO” marks a milestone in Wil Aime’s career. The Guadeloupe-born director, known for his suspenseful short stories posted on social networks, brings his first feature film to the cinema. In Guadeloupe, several screenings are scheduled from May 28, 2026. In Abymes, Basse-Terre and Lamentin, Guadeloupean audiences will soon have access to a film eagerly awaited by a community that has been following Wil Aime for several years. This trip to the cinema is not just about going to the movies. It also tells the story of a creator who built his narrative language online before bringing it to the big screen.
A creator born with short stories
Wil Aime, whose real name is Wilhem J. Oxybel André, made his name on Vine before developing a sizeable audience on Facebook, Instagram and YouTube. His style is based on a precise construction: ordinary situations that tip over, moral choices, details that make sense at the end, and a tension that forces the viewer to stay attentive.
With “WHO”, he changes format without abandoning what has made him unique. Whereas his videos set up a plot in just a few minutes, this first feature-length film unfolds his universe over 2 hours and 10 minutes. The challenge is considerable: to transform writing designed for social networks into a cinematic narrative, without losing the rigor or the direct relationship with the audience.
A psychological thriller
“WHO” is billed as a psychological thriller, built around a central question: “In a world of monsters, who’s the monster?”. This sentence sets the tone. It doesn’t just promise an investigation or a series of twists and turns. It establishes moral doubt.
In the film, the characters evolve in a world where every decision can have serious consequences. Time is of the essence. Mistakes are paid for. Extreme situations reveal human flaws, fears and limits. This is precisely the terrain on which Wil Aime has often built his relationship with his audience: showing how a detail, a word or a choice can change the whole meaning of a story.
Guadeloupe in the release schedule
WHO” is scheduled for release on May 28, 2026. In Guadeloupe, the Cinestar in Les Abymes has scheduled a screening for Thursday May 28 at 7.30pm. The cinéma d’Arbaud, in Basse-Terre, announces a screening on Friday May 29 at 7.30pm. The Ciné-Club Nouveaux Regards is also organizing a screening at the Ciné-Théâtre du Lamentin on Thursday May 28 at 6:30pm, with a videoconference discussion with Wil Aime after the film.
This calendar gives the region a special place. For a director of Guadeloupean origin, presenting a first feature film in Guadeloupean cinemas carries a strong symbolic dimension. Local audiences don’t just receive a film that has already been released elsewhere. They are taking part in an important moment in the career of a creator from their own cultural area.
An outing beyond the Antilles
The project is not limited to Guadeloupe. Limited screenings have been announced in France, DROM-COM, Belgium and Switzerland on May 28 and 29, 2026. Canada is also included in the schedule, with a preview on May 29, followed by a national release on June 5. French-speaking Africa will follow on June 10.
This circulation gives “WHO” a wider reach. It shows how a Caribbean creator can now draw on an audience built up online to reach several territories. Cinema does not replace social networks. It becomes a new stage, longer, more demanding, but also more collective, as the cinema imposes a different relationship with the public.
A signal for Caribbean designers
Wil Aime ‘s journey is also interesting because it goes beyond his own personal case. It raises a central question for creators in the Caribbean and its diaspora: how do you go from digital visibility to lasting work? How do you transform a community of viewers into a cinema audience? How can we bring the stories of Caribbean journeys into wider distribution circuits?
With “WHO”, Wil Aime attempts this transition with a film that remains true to his taste for suspense, detail and dilemma. Whether this transition to feature film marks a new stage in his career will depend on public reception. But the event is already here: a creator of Guadeloupean origin, shaped by the customs of his time, arrives in cinemas with a work designed to be seen, discussed and shared in a different way.
Perhaps the real question now is not just who is the monster in “WHO”. It’s also to see how far this first film can take Wil Aime, from Guadeloupe to a much wider audience.
WHO is announced in Guadeloupe from May 28, 2026. The screenings announced include the Cinestar in Abymes, the cinéma d’Arbaud in Basse-Terre and the Ciné-Théâtre in Le Lamentin. These screenings will give Guadeloupean audiences the chance to discover Wil Aime’s first feature-length film in theaters, in a strong local setting for a director of Guadeloupean origin.
WHO is a psychological thriller built around a central question: “In a world of monsters, who is the monster? The story features characters confronted with choices fraught with consequences, in a mechanic where every mistake can become decisive. The film extends the universe of Wil Aime, known for his precise narratives, moral dilemmas and sense of turnaround.
The release of WHO is particularly significant for Guadeloupe, as Wil Aime is a director of Guadeloupean origin, who here passes a major milestone: that of his first feature-length film. His journey shows how a social network creator can transform a digital audience into a cinema audience. For Guadeloupe, this release also highlights the place of Caribbean talent in international cultural circuits.
With Bandi, a 2026 Netflix series set in Martinique, eight episodes have taken a Martinican Creole expression far beyond its native territory. “Sa sa pé foutew” means much more than “What’s it to you? It’s a way of setting a limit, sometimes with humor, sometimes with firmness, but always with an element of identity.
Three words, one border
Three Creole words, one question, and one attitude. When the Bandi series arrived on Netflix in 2026, it brought with it a phrase that many Martiniquais recognize: “sa sa pé foutew”. For some, it’s pride. For others, it’s a silent victory. For all those who know what these words mean in a conversation, it’s a moment that counts.
Literally, the phrase can be translated as “what’s it to you?” or “what’s it got to do with you?”. But the translation always gives us away. In reality, “sa sa pé foutew” functions like an air bubble between self and other. It means: you have no authority over my life, what I do is none of your business, I don’t expect your validation. It’s a boundary, not an aggression.
A short formula, many emotions
And it’s precisely this dual dimension – defense and tenderness – that makes the formula so special. Depending on the context, the tone and the face, “sa sa pé foutew” can be a burst of laughter between friends, an icy clarification, or a resigned sigh. The Creole language excels in these short formulas that carry several emotions at once.
Martinique Creole is rich in such expressions. According to the Atlas of Pidgin and Creole Language Structures, it is spoken by around 400,000 people in Martinique, with an equally large diaspora. But numbers don’t tell the whole story. A language doesn’t live by the number of speakers alone. It lives on through intonation, usage, everyday situations, the retorts that circulate in families, neighborhoods, markets, songs or conversations between relatives.
In “sa sa pé foutew”, there’s more than just a phrase. There’s a posture. That of a person who refuses to be intruded upon. It’s a popular voice that knows how to say no without making a speech. This is also why the expression remains difficult to translate properly. In French, it sounds abrupt. In Martinique Creole, it can be funny, dry, affectionate or sharp, depending on the mouth that utters it.
When Martinique Creole arrives on Netflix
The arrival of the formula on Netflix marks something. For a long time, Martinique’s Creole language circulated mainly in local cultural spaces, whether musical, theatrical, family or militant. Seeing it installed in a series broadcast on an international platform changes perception. What was local becomes audible elsewhere. What was familiar to some becomes a subject of curiosity for others.
This does not automatically transform the expression into a global phenomenon. We must not exaggerate. But it does give voice to a language in an area where it is still rare. And, for a regional language often reduced to orality or intimacy, this visibility has weight. It shows that Martinique Creole can carry a plot, a tension, an emotion and a strong line without being decorative.
A Caribbean resonance, without erasing differences
This upsurge in Martinique Creole does not stand alone. It is part of a wider movement to recognize Creole languages in the Caribbean. In Dominica, the country’s official profile mentions English and French Patois, also known as “Kwéyòl”. In Saint Lucia, Kwéyòl pride is expressed every October around Jounen Kwéyòl, linked to International Creole Day on October 28. In Haiti, the 1987 Constitution recognizes Creole and French as the official languages of the Republic.
In Guadeloupe, there are also sister formulas. “Ki sa ou ka chèché?” carries a similar intensity, even if it doesn’t say exactly the same thing. But each island has its own music. Guadeloupe Creole is not Martinique Creole. Saint Lucian kwéyòl is not Haitian Creole. They are related languages, not a single language.
A popular phrase, a demand for autonomy
What makes “sa sa pé foutew” singular in the Martinican context is its social significance. The phrase expresses a relationship with authority, whether familial, social or institutional, and a demand for autonomy that runs through part of popular culture. In zouk songs, in comic theater, in carnival, we find this posture: I hold my place, I don’t ask permission.
When a formula like this leaves its home territory and reaches the ears of viewers who don’t necessarily have a direct link with Martinique, it doesn’t become universal. It becomes curious. And curiosity, for a language long kept at a distance from the major cultural circuits, is already a form of victory.
Next week, we cross the sea to Trinidad to find the equivalent. What expression over there will say the same thing differently?
“Sa sa pé foutew” can be translated as “what’s it got to do with you” or “what’s it got to do with you? In Martinican Creole, the expression is often used to set a limit, with humor, firmness or distance, depending on the context.
The expression is brought back into the spotlight by the Bandi series, broadcast on Netflix and set in Martinique. Its presence in an international production gives new visibility to Martinique Creole and its popular formulas.
“Sa sa pé foutew” is not just a literal translation. The expression conveys an attitude, a way of refusing intrusion and asserting autonomy. It demonstrates the expressive power of Martinique Creole in everyday life.
From May 9 to 17, 2026, the Raizet district of Les Abymes will play host to WAL FEST 2026, billed as Guadeloupe’s first major urban art festival. For ten days, 15 artists from Guadeloupe and elsewhere will create 12 monumental frescoes. The aim is clear: to turn the neighborhood into a free, permanent, open-air museum.
The Abymes district at the heart of the project
In Raizet, the walls of the Les Esses 1, 2 and 3 residences and of Quartiers 1 and 2 of the SIG will be more than just supports. They will become the visible heart of a cultural project designed in collaboration with residents, neighborhood associations and the Raizet socio-cultural center. WAL FEST 2026 is not just about showing finished works. It wants to make visible the artistic gesture, the live work, the exchanges, the hesitations and the encounters.
Co-organized by the WAL association, Wad Al Lub, and the Société Immobilière de Guadeloupe, the event is based on a powerful idea: to transform a 1960s neighborhood into an open-air art trail. According to the dossier submitted by the organization, this transformation is part of a threefold logic: social inclusion, local development and the democratization of artistic creation.
15 artists, 12 frescoes and an international scene together
For ten days, 15 international artists will take over Le Raizet to create 12 monumental live frescoes. The announced program includes artists from Guadeloupe, Guyana, the Dominican Republic, France, the Netherlands, Spain and the Caribbean.
Among the artists announced are Steek, Al Pacman, Pauline and Mathilde Bonnet, the 4KG collective, Pock, Ti Latour, Greeffe, Kilia Llano, Hopare, Kaldea, Zailfana, Does and Zurik. The presence of established artists alongside Guadeloupean talent creates a dialogue between various practices: graffiti, muralism, painting, illustration, memory, abstraction, portraiture, public art and urban cultures. The festival also features a mixed program, with as many female as male muralists in this first edition.
WAL FEST 2026: A program designed for local residents, schoolchildren and families
WAL FEST 2026 opens on Saturday May 9 with an official launch featuring artistic performances, music and a screening of Gérard Maximin’s documentary Mas Ka Klé, La porte du retour. Tuesday May 12 will be dedicated to schoolchildren, with guided tours of the art trail, meetings with artists and educational workshops.
On Thursday May 14, an eco-citizen day will be organized in partnership with Cap Excellence. It will combine environmental awareness, civic action and reflection on the territory. On Friday May 15, starting at 7 p.m., the lewoz, a traditional Guadeloupean cultural evening, will honor local heritage with the participation of pô groups from Le Raizet.
On May 16 and 17, the WAL FEST Village, also known as Vilaj Papyon, will take place from 10 am to 6 pm. The village will feature three main hubs: employment, training, crafts, exhibitions, prevention and awareness-raising. From 4 p.m., the stage will host musical entertainment, dance performances and a fashion show, in partnership with the Conseil Départemental and the ONTGABF association.
Urban art as an educational tool
WAL FEST isn’t just about frescoes. From May 9 to 17, introductory urban art workshops will be held from 10 a.m. to 12 p.m. in the heart of the residences concerned. They will be led by Guadeloupe artists including Skem, Macfa, 1So, Art’So, Yeswoo, Karey and Sek. These workshops will enable children, young people and adults to understand the codes of urban art, experiment with techniques and engage in dialogue with professional artists. The stated aim is to stimulate creativity, boost self-confidence and open participants up to other artistic cultures.
This educational dimension gives WAL FEST 2026 a special significance. Audiences don’t just come to watch. They can learn, question, participate and situate themselves in a broader artistic history.
A citizens' village for jobs, culture and rights
Vilaj Papyon gives the festival a social and economic dimension. The employment and training center will be offering meetings with local companies, career advice, exchanges with recruiters, a discovery of professions and integration paths.
Another section will be devoted to heritage and culture, with local crafts, Guadeloupean know-how, exhibitions and demonstrations. An information area will also focus on access to health services, social rights, assistance for people on minimum social benefits and the elderly, as well as road safety education.
WAL, an established player in Guadeloupe's urban art scene
Created in 2014, the WAL association has established itself as a key player in the development of urban art in Guadeloupe. Its Le Mur Guadeloupe project, launched in 2023 in the Dothémare area of Les Abymes, has already welcomed 22 artists in residence since September 2023. With WAL FEST 2026, the association is taking things to the next level. The event does more than simply exhibit artists: it sets up a route through an inhabited neighborhood, involving residents and making urban art part of a territorial strategy.
If this first edition of WAL FEST lives up to its promise, Le Raizet could become the starting point for an event that would travel to another intercommunal region each year. So the question remains: how far can Guadeloupe turn its walls into a common language of creation, memory and future?
📸 ©WAL FEST
WAL FEST 2026 is an urban art festival to be held in Raizet, Les Abymes, Guadeloupe, from May 9 to 17, 2026. It includes the creation of 12 monumental frescoes by 15 artists from Guadeloupe and beyond.
WAL FEST 2026 will take place in Le Raizet, in the commune of Les Abymes. The frescoes will be created in the heart of the Les Esses 1, 2 and 3 residences and in Quartiers 1 and 2 of the SIG.
WAL FEST 2026 aims to transform Le Raizet into a free, permanent, open-air museum. The project combines artistic creation, resident participation, educational workshops, a citizens’ village, employment, training and neighborhood enhancement.
