In the Caribbean, a high energy bill can slow down a business. A storm can cut off a road, block a port, or jeopardize a harvest. A security crisis can also extend beyond the borders of a single country. It is against this daily reality that the Canada-CARICOM dialogue is taking on a new dimension today.
Meeting in Panama City on the sidelines of the 2026 General Assembly of the Organization of American States, the foreign ministers of Canada and CARICOM sought to reinvigorate their strategic partnership. At the heart of their discussions was an action plan focused on three major priorities for the region: security, climate, and the economy.
Cooperation Aimed at Achieving Concrete Results
The Canada-CARICOM partnership builds on the strategic agreement launched in 2023. But the 2026 meeting marks an important milestone: both parties now want to move forward with a plan that is more specific, clearer, and more measurable.
The goal is not merely to demonstrate diplomatic closeness. It is to establish priorities, timelines, and funding mechanisms capable of producing results. For Caribbean countries, this clarity matters. The region faces a range of interrelated challenges: energy costs, climate-related disasters, maritime security, financial vulnerability, and the crisis in Haiti. The Caribbean is not merely asking for aid. It is seeking partners capable of understanding its realities and working alongside it for the long term.
Security: A Regional Emergency
Security is central to this new Canada-CARICOM plan. The ministers discussed transnational crime, gangs, irregular migration, maritime security, and illicit flows. For the region, these issues are not isolated. The sea serves as a link, but it is also an area of vulnerability. Trafficking, criminal networks, cyberthreats, and political crises sometimes spread faster than institutional responses can keep up.
Canada already supports certain regional initiatives through capacity building, targeted interventions, and operational partnerships. The new challenge is to move toward a more coordinated response: better protecting maritime areas, strengthening institutions, sharing relevant information, and limiting the influence of criminal networks.
Haiti: A Crisis That Affects the Entire Caribbean
Haiti is a major focus of the discussions. The political, security, and humanitarian crisis the country is facing has direct consequences for the region. In particular, the ministers highlighted the risks associated with drug and arms trafficking. Support for the Gang Suppression Force was among the topics discussed. This force is intended to help restore security on the ground, with a mandate set to be renewed by the United Nations Security Council.
But the response cannot be limited to security measures alone. The ministers also reaffirmed the right of Haitians to choose their own government. They support the holding of credible elections as soon as conditions permit, as well as efforts to combat corruption and impunity. Haiti serves as a powerful reminder: no lasting stability in the Caribbean can be achieved by leaving a country to face such a profound crisis on its own.
Climate and the Economy: Two Sides of the Same Challenge
The new Canada-CARICOM plan also clearly links climate and the economy. In the Caribbean, a natural disaster is never just a weather event. It affects families, businesses, roads, schools, ports, and public finances. Access to reliable and affordable energy is once again a priority. Overly expensive energy stifles innovation and puts a strain on households. A more stable energy supply can support industry, services, investment, and the transition to more sustainable models.
Trade is also part of the equation. The CARIBCAN program, which grants duty-free access to the Canadian market for most products originating in 18 Caribbean Commonwealth countries and territories, remains an important tool. It serves as a reminder that the Canada-CARICOM partnership is not just about diplomacy. It also encompasses economic opportunities, supply chains, and the ability of Caribbean businesses to expand beyond their local markets.
Greater Attention to the Caribbean's Vulnerability
Another key aspect of the Canada-CARICOM partnership concerns financing. Several Caribbean states are considered middle-income countries. Yet their vulnerability to climate-related disasters, economic shocks, and supply disruptions remains very high. This is one of the region’s major paradoxes. On paper, some countries appear too “advanced” to easily access concessional financing. In reality, a single crisis can undermine years of progress.
The ministers therefore emphasized the need to reform the international financial architecture. The idea is simple: the actual vulnerability of small states must be taken into account more fully—not just their average income.
A plan to follow closely
The coming months will be crucial. Officials still need to finalize the details of the action plan, identify priority initiatives, develop an implementation schedule, and strengthen monitoring efforts. A dialogue among senior officials is scheduled for the fall to advance this work.
The Canada-CARICOM partnership alone will not solve the Caribbean’s challenges. But it says something about the current moment: the region wants to be heard as a strategic area, not just as a vulnerable one. Now the real question remains: Will this new plan bring about visible changes for Caribbean people, businesses, and territories?
The new Canada-CARICOM plan is a roadmap designed to strengthen cooperation between Canada and the Caribbean Community. It is based on three priorities: more resilient economies, climate action, and regional security. The goal is to move from a diplomatic partnership to more concrete actions, with timelines, measurable results, and sustainable financing mechanisms.
Haiti is a key focus because its political, security, and humanitarian crises have repercussions for the entire region. The ministers discussed drug and arms trafficking, support for the Gang Suppression Force, and the right of Haitians to choose their own government. For CARICOM, Haiti’s stability therefore remains a regional issue, not just a national one.
The Canada-CARICOM Partnership directly links climate and the economy. It emphasizes access to reliable and affordable energy, the development of trade, the strengthening of supply chains, and access to financing tailored to the vulnerabilities of small Caribbean states. The goal is to enable the region to better withstand natural disasters, economic shocks, and international crises.
Exhibiting at the Jardin du Luxembourg is often a major milestone in an artist’s career. For artist Cécile Vernant, it is above all an opportunity to connect with the public. From July 17 to 28, 2026, she will present *Man Mélé!* at the Senate’s Orangerie, as part of the Luxembourg Garden Summer Festival. For twelve days, she will personally welcome visitors to this iconic venue at the heart of Parisian cultural life.
Selected following the 2026 call for projects, the artist will have 152 m² to showcase her artistic world, where painting, photography, drawing, and ceramics interact freely. After being selected by the Senate, Cécile Vernant reached out to Didier on her own initiative, without having had any prior contact with the company. This choice came naturally: from the brand’s production site, the view takes in the Carbet peaks, a Martinican landscape that runs through her work just as much as Mount Pelée does. She also received a creative grant from the Académie des Beaux-Arts – Institut de France, awarded by artist members of the academy. This recognition deeply moved her: “I literally cried with joy,” she confides.
Man Mélé!, Multiple States in a Single Title
You can’t reduce Man Mélé! to a single translation. In Martinican Creole, the expression captures the nuances of emotion: it can mean “I’m frustrated” when faced with choosing from dozens of works, but also “I’m overwhelmed,” “I’m in love,” “I’m torn,” or even “I’m spellbound.” To officially introduce the exhibition, the artist ultimately chose this last phrase: “I’m spellbound!”
This sense of enchantment has its roots in Martinique, the land of his childhood and the emotional wellspring of his entire body of work. The island is present everywhere: in the softness of the morning light, the memory of rain on tin roofs, the intertwining vines, abandoned buildings, and even the inner landscapes nourished by memory.
Paintings, drawings, photographs, and ceramics interact there “without any hierarchy.” The works engage in a dialogue with one another like so many visual “exquisite corpses,” following an intuitive logic in which each creation gives rise to the next. Cécile Vernant embraces an instinctive practice, fueled by automatic writing, spontaneous drawing, and free modeling, building on the experiments she discovered during her high school years in Fort-de-France.
From “Luco” to the Martinique of My Childhood
With Untitled Luco V, from the collection Caribbean Childhood, Cécile Vernant weaves a dialogue between Paris and Martinique. The “ti points, ti croix” that run throughout the work pay homage to Ms. Mible, her art teacher at Bellevue High School in Fort-de-France. She was a teacher who encouraged her students to prioritize boldness, emotion, and the present moment, always ready to support her students and bring out the potential in each of them.
The title also echoes “Luco,” the affectionate nickname Parisians have given the Jardin du Luxembourg. It’s the artist’s way of bringing together the place that hosts Man Mélé! and the formative memories of her creative journey. Presented with a bright red mat, the work builds a delicate bridge between several intimate landscapes.
Untitled Luco V This is not an isolated case, by the way. The titles of these works shift freely between French, Creole, Spanish, and Portuguese. La Perla reflects this linguistic fluidity, which is fueled as much by travel and the languages she has studied as by the music that accompanies the artist in her creative process.
A painting that doesn't reveal itself at first glance
Untitled No. 49 summarizes several characteristics of Cécile Vernant’s work. In it, the artist depicts a blurred boundary between sky and earth, a cut-off tree stump, the rabbit from *Alice in Wonderland* sitting with its paws dangling in midair, a campfire from a Western, a hill, and even waterfalls. These are all forms that gradually emerge, reminding us that every viewer’s gaze can bring forth a different story.
At the outset, the artist never knows exactly which direction the canvas will take. The rhythm of the brushstrokes and the degrees of dilution guide the composition. The work is then set aside: Cécile Vernant observes it, walks around it, and may even turn it over before continuing her work. Crisp incisions, gradients, texture sometimes worked with the fingers, and localized varnishes thus multiply the levels of perception. Depending on the area, these varnishes evoke rain, a rock made slippery by water, or even the movement of a current on the surface.
This approach sheds light on what the artist calls “deconstructing figuration.” In the absence of an immediately recognizable landscape, no single interpretation is definitively imposed. The vertical format of Untitled No. 99 is part of this same exploration, drawing inspiration from vines, the natural landscape of northern Martinique, and certain architectural forms, without ever confining the work to a single interpretation.
Reinterpreting the image, letting the material transform the work
The two versions of the Caribbean illustrate how Cécile Vernant constantly reinvents her own creations. The first was photographed in overcast light; the second, in bright sunlight, before being reworked with acrylic paint directly on Japanese paper. Light, material, and manual intervention thus bring forth two evolving landscapes from a single image.
Japanese paper plays a key role in this transformation. Its fibers showcase the artisans’ craftsmanship and reveal what the artist calls “the soul of the paper.” In The Gates of Paradise, this medium also connects to a more personal story. Following the sudden passing of a loved one, Cécile Vernant returned to the visual arts, using the materials left behind by that person—materials she continues to use today. In her ceramic work, she also creates impressions of objects that belonged to people she loved. For the artist, these traces give the work “a kind of soul” and perpetuate a connection that transforms and travels as it moves from one home to another.
However, this connection to Japan did not begin with that trip in 2007. As a child, the artist would receive postcards depicting snow-capped Mount Fuji and imagine that snow could also cover Mount Pelée. His stay in Japan reinforced these intimate connections between islands, volcanoes, cyclones, and the invisible bonds that unite the departed with the living.
From mutant species to “Mega Kiki” microformats
Her ceramics reflect this passion for transformation and invention. In her work, Cécile Vernant brings to life hybrid forms inspired by the marine world. The recurring presence of corals stems from a childhood memory: after cyclones, she would collect fragments found along the shoreline in her bedroom, so they wouldn’t be left alone. In her creations, these elements become imaginary species, somewhere between underwater fauna and fantastical creatures.
The set design for *Man Mélé!* will also play on changes in scale. The microformats in the series Mega Kiki, some measuring as little as 12 × 12 cm, will be displayed alongside large-format works. This is a way of inviting visitors to constantly shift their perspective, by stepping closer or taking a step back. Fishing nets and colorful ropes will also punctuate the exhibition route.
An exhibition open to all visitors
While Cécile Vernant fully embraces her place within the contemporary art world, she is wary of discourses that confine works to a single interpretation. For her, personal experience must always have its place.
This conviction took hold as she met more people. At a previous exhibition, a visitor refused to enter, claiming he knew nothing about art. “That’s just as well—neither do I,” she replied, before inviting him to explore the works. Another visitor, who had achromatopsia, described the paintings not in terms of color but in terms of sensations of warmth. These experiences remind the artist that there is no such thing as good or bad taste, but rather a multitude of sensibilities.
Recognition of Cécile Vernant ’s work extends beyond France’s borders: her photography Paradise for Fishermen has been selected for an international group exhibition in Crete, scheduled for July 2026. The artist will be present every day at the Senate’s Orangery to share her artistic vision and interact with visitors.
What will everyone see in *Man Mélé*!? Cécile Vernant prefers to leave the answer open. For the artist, a work of art never reveals itself fully: it is discovered, felt, and reinvented through the eyes of the viewer.
Practical information
Man Mélé ! will take place from July 17 to 28, 2026, at the Orangerie du Sénat in the Jardin du Luxembourg in Paris. “Man Mélé!” will be open daily from 11 a.m. to 8 p.m. Admission is free through the Férou gate at 19 bis rue de Vaugirard in the 6th arrondissement.
Cécile Vernant’s exhibition *Man Mélé!* will be held from July 17 to 28, 2026, at the Orangerie du Sénat in the Jardin du Luxembourg in Paris. It will be open daily from 11 a.m. to 8 p.m. Admission is free through the Férou gate at 19 bis rue de Vaugirard in the 6th arrondissement.
“Man Mélé!” will feature paintings, drawings, photographs, and ceramics by Cécile Vernant. In this exhibition, the artist will create a dialogue among various media, formats, and artistic languages, exploring themes of Martinique, memory, childhood, and the transformation of landscapes. The exhibition will feature, among other works, mutating prints, vertical works, imaginary ceramics, and the microformats from the series Mega Kiki.
For Cécile Vernant, “Man Mélé!” has several meanings. The expression can convey the idea of being annoyed, thrown off balance, in love, spellbound, or confused. The artist particularly emphasizes the idea of being spellbound to express her attachment to Martinique and the emotions that run through her work.
From December 5, 2026, to April 4, 2027, the MSC World Europa will come alive to the rhythms of French Caribbean islands music with the Zouk@Sea by MSC festival. For its third edition, eighteen weeks of musical entertainment will take place on sailings departing from Fort-de-France and Pointe-à-Pitre, featuring artists, live bands, and DJs from Martinique and Guadeloupe. The lineup brings a variety of French Caribbean islands musical styles aboard an international cruise ship: zouk, compas, Creole traditions, urban music, cadence, dancehall, shatta, soca, and DJ sets.
A different lineup every week
Zouk@Sea by MSC operates on a simple principle: each week, an artist, band, or DJ performs on the cruise. Departures are scheduled for Saturdays from Fort-de-France and Sundays from Pointe-à-Pitre. The season will kick off on December 5 and 6, 2026, with SOS Kantik and a lineup dedicated to Chanté Nwèl. Silonvan will take over on December 12 and 13, followed by DJ Raptor on December 19 and 20, and then DJ Moulinex on December 26 and 27.
In January 2027, La Finekip is scheduled for January 2 and 3, followed by Emosyon on January 9 and 10. Misié Sadik, Jessye Belleval, and Zouk’n Groove will take the stage on January 16 and 17. The following weekend, on January 23 and 24, Kwaxikolor will share the stage with Jocelyne Béroard. Thierry Lof and C’Zigla will close out the month on January 30 and 31.
Jocelyne Béroard and Several Generations of Zouk
Jocelyne Béroard’s participation gives this third edition a particularly intergenerational dimension. With Kwaxikolor, the artist—who is closely associated with the history of the group Kassav’—will perform a repertoire rooted in the legacy of zouk. Misié Sadik, Jessye Belleval, and Zouk’n Groove will blend urban sounds, Creole music, and contemporary zouk. While the festival’s name highlights zouk, the lineup extends far beyond this genre.
February: Live Shows, Birthdays, and DJ Sets
DJ Fab will kick off February with shows on February 6 and 7. Kaf Kon’s will follow on February 13 and 14 with an acoustic set featuring Creole covers, audience interaction, and a festive atmosphere. On February 20 and 21, Tanmpo Klassik Live will celebrate its tenth anniversary. DJ Stonekilla & Friends will then take the stage on February 27 and 28.
From Jean-Michel Galva to MKG to close out the season
March will once again bring together a variety of musical styles. Jean-Michel Galva & Koezyon are scheduled to perform on March 6 and 7 with a repertoire blending zouk, cadence, and traditional French Caribbean islands influences. Maty will take the stage the week of March 13 and 14, followed by DJ Raptor & Friends on March 20 and 21. Jean-Marc Ferdinand, billed as a true French Caribbean islands party starter, will perform on the departures on March 27 and 28. MKG will wrap up the lineup on the cruises on April 3 and 4, 2027. However, the schedule is subject to change. The official poster notes that certain artists may be replaced or absent without prior notice.
The MSC World Europa Deployed to the French Caribbean islands
This third edition coincides with the deployment of the MSC World Europa to the French West Indies during the winter of 2026–2027. The ship will depart from Fort-de-France and Pointe-à-Pitre, two ports that will play a central role in this season. MSC Cruises is presenting this initiative as a way to strengthen its regional presence. According to figures released by the company, the French Caribbean islands welcomes 43% of the world’s cruise passengers and accounts for 36% of global cruise capacity.
These figures position Zouk@Sea by MSC within a sector where the region already plays a major role. But the project’s cultural significance lies elsewhere: in the opportunity it offers artists from Martinique and Guadeloupe to perform each week in a venue frequented by travelers from diverse backgrounds. Patrick Pourbaix, CEO of MSC Cruises France, explains that the goal is to transform every cruise into “a true celebration of the French Caribbean islands way of life.” The musical program thus becomes a central part of the onboard experience.
A mobile showcase for French Caribbean islands scenes
For passengers, Zouk@Sea by MSC will combine French Caribbean islands port calls with concerts, live performances, and musical evenings. For the featured artists, the ship offers a stage that’s different from the festivals, venues, and events typically held on land. The project, however, raises a broader question. Can an onboard program become a genuine vehicle for promoting Caribbean music, rather than just entertainment tied to the trip?
For eighteen weeks, the MSC World Europa will host Christmas traditions, zouk artists, live bands, and DJs. From SOS Kantik to MKG, this season will above all showcase the diverse French Caribbean islands music scene, which is able to preserve its heritage while showcasing its most contemporary sounds.
Zouk@Sea by MSC is a music festival at sea organized by MSC Cruises aboard the MSC World Europa. For its third edition, the event will feature a different artist, live band, or DJ from Martinique or Guadeloupe each week. The lineup will showcase a variety of Caribbean musical styles, including zouk, compas, Chanté Nwèl, cadence, dancehall, shatta, soca, and Creole urban music.
The Zouk@Sea by MSC season will run from December 5, 2026, to April 4, 2027. Cruises will depart every Saturday from Fort-de-France, Martinique, and every Sunday from Pointe-à-Pitre, Guadeloupe. A different musical lineup will feature each week aboard the MSC World Europa. However, announced artists are subject to change or cancellation without notice.
The lineup will feature SOS Kantik for the Chanté Nwèl, Silonvan, La Finekip, Emosyon, Misié Sadik, Jessye Belleval & Zouk’n Groove, Kwaxikolor feat. Jocelyne Béroard, Thierry Lof & C’Zigla, Kaf Kon’s, Jean-Michel Galva & Koezyon, Maty, Jean-Marc Ferdinand, and MKG. Tanmpo Klassik Live will also celebrate its tenth anniversary on board. Several DJs will be participating in the season, including DJ Raptor, DJ Moolinexx, DJ Fab, and DJ Stonekilla & Friends.
On June 21, 2026, the streets, squares, and cultural venues of Martinique, Guadeloupe, and French Guiana hosted concerts, open-mic nights, and musical gatherings. In these three territories, the Music Festival took on different forms, drawing on local repertoires and featuring both amateur and professional artists.
The 45th Music Festival, open to everyone
Created in 1982 at the initiative of Jack Lang, Maurice Fleuret, and Christian Dupavillon, the Music Festival celebrated its 45th edition this year. Its purpose remains the same: to showcase live music, bring together music lovers and professionals, and offer free concerts on June 21. The event is now celebrated in more than a hundred countries.
In France’s Caribbean and Amazonian territories, this common framework is reinterpreted in light of local realities. Zouk, gwoka, biguine, reggae, Creole jazz, percussion, urban music, and South American influences can all come together in a single program. This diversity does not turn the three territories into a uniform whole. Rather, it shows how each one adapts a national event to its own music scenes, languages, and musical trends.
In Martinique, a route connecting the city center and the neighborhoods
In Fort-de-France, the city had announced a musical route designed to bring artists and the public together between the city center and various neighborhoods. The city’s call for participation also involved volunteers in the organization, in keeping with the event’s participatory spirit.
Across the island, the program spanned several municipalities and, in some cases, lasted the entire weekend. At Schœlcher, the Village Musical featured more than 200 artists spread across seven venues. Gospel, reggae, salsa, percussion, traditional music, DJ sets, and urban music were among the offerings. This juxtaposition of generations and musical styles illustrates one of the strengths of the Music Festival: creating a shared stage without imposing a dominant genre.
In Guadeloupe, Musical Heritage Takes Center Stage
In Pointe-à-Pitre, the program featured a special edition of the Marché de Kalina, from 8:30 a.m. to 5:00 p.m. at Place de la Victoire, celebrating Guadeloupean culture and traditions, with artistic performances. The event was therefore more of a cultural and musical celebration than a large evening concert.
Elsewhere in the archipelago, the programs gave prominent coverage to Guadeloupe’s musical heritage. In Le Moule, the two-day program featured a meeting with Pierre-Édouard Décimus and Maalkhéma, an event centered on the ka, an open mic, as well as zouk, biguine, jazz, and gospel. This lineup serves as a reminder that the Music Festival can also convey musical history, showcase the region’s instruments, and bridge the gap between heritage and contemporary creation.
In French Guiana, open-air venues between the city and the Amazon
In French Guiana, the Music Festival took on several forms. In Cayenne, a number of events took place in public spaces. An open-mic stage was scheduled to begin at 4 p.m. on Place des Chaînes Brisées, followed by another event on Place des Palmistes starting at 6 p.m. featuring several DJs. The Kayenn’Art festival, held at La Poudrière over the weekend, also combined visual arts, local creations, and musical performances.
These proposals reflect a unique soundscape. Guyanese music is shaped by its interaction with Creole, Bushinengue, Surinamese, Brazilian, and Caribbean musical traditions. However, we must avoid reducing these exchanges to a single border or a single genre: they follow migration patterns, languages, media, artistic collaborations, and the history of the Guiana Shield.
Why does the Music Festival remain accessible?
Free admission remains one of the defining features of the Music Festival. This does not mean that every event can be organized without rules or coordination. Municipalities issue calls for participation, designate venues, and oversee the setup. However, public access to the concerts included in the program remains free.
When it comes to ticketed cultural events, this principle fosters a different relationship with the stage. The audience can move from one venue to another, listen to an unknown band, or stop by an open mic without having to buy a ticket. This accessibility fosters encounters, even if it is not, on its own, sufficient to measure the cultural success of a festival.
The 2026 Music Festival was officially held on June 21, with some events taking place over several days during the weekend. This 45th edition featured concerts, open-air stages, and cultural events in several towns across Martinique, Guadeloupe, and French Guiana.
In Martinique, Fort-de-France offered a musical tour connecting the city center with the neighborhoods, while Schœlcher featured more than 200 artists across seven venues. In Guadeloupe, the Kalina Market in Pointe-à-Pitre and the activities organized in Le Moule highlighted local cultures. In French Guiana, Cayenne hosted open-air stages at the Chaînes Brisées and Palmistes squares, as well as the Kayenn’Art festival at La Poudrière.
The Music Festival allows amateur and professional artists to perform for free in public spaces. In Martinique, Guadeloupe, and French Guiana, it also highlights local and regional musical genres, such as zouk, gwoka, biguine, reggae, percussion, urban music, and Amazonian influences.
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.
In Paris, amid startups and major tech events, an idea that originated in Martinique has just received national recognition. MiBelBoat was honored on June 17 at VivaTech 2026 as part of France Travail’s first “Challenge Innov’ Outre-Mer.” The startup aims to use artificial intelligence to better connect travelers, water sports operators, and maritime professionals in the Caribbean.
An award for a startup from Martinique
VivaTech 2026 is taking place June 17–20 at Paris Expo Porte de Versailles. For MiBelBoat, its participation in this trade show took on special significance right from the first day. The Martinique-based platform received the “Technology Passport” award during the awards ceremony for the Challenge Innov’ Outre-Mer, organized by France Travail. The project is led by Alexis Mompert and Aurélien Filin. Their goal is simple to state but more complex to achieve: to provide the Caribbean boating industry with a digital tool capable of connecting offerings, operators, itineraries, and travelers.
This topic touches on a very specific sector: boat trips, charter services, water-based activities, marinas, tourism professionals, and customers looking for an easier way to make reservations.
A market that remains fragmented
In many Caribbean regions, access to water sports is still facilitated through fragmented channels: a phone call, a WhatsApp message, an email exchange, or a local recommendation. This personal touch is part of the culture of service, but it can also limit operators’ visibility.
MiBelBoat is based on this observation. According to the startup, the Caribbean’s boating offerings remain difficult to organize on a regional scale. For travelers, it’s not always easy to compare experiences, understand itineraries, or book at the right time. For industry professionals, the fragmentation of sales channels can complicate the management, marketing, and tracking of business. This is where digital tools come into play in the Caribbean. The challenge goes beyond booking. The goal is to make an already active but still underconnected industry more transparent.
AI as a Field Tool
MiBelBoat is a Caribbean-based boat rental platform powered by artificial intelligence. The solution aims to integrate several features: booking, management, itineraries, and nautical concierge services. The goal is to simplify the customer experience while helping operators better organize their offerings.
AI is becoming a tool for sorting, automating, and guiding users. It can help organize information, streamline requests, assist in choosing an experience, or make certain tasks less burdensome for professionals. For the Caribbean, where the sea serves as a space for work, transportation, recreation, and identity, this issue also touches on how these regions make the most of their resources.
An idea born from experience at sea
MiBelBoat draws on the experience gained through Boat Paradise, a company specializing in premium boating experiences in the Caribbean. This venture allowed the founders to identify the needs not only of customers, but also of operators, marinas, and tourism stakeholders. The project isn’t driven solely by a technological trend. It’s rooted in real-world use. Booking a boat trip, planning an itinerary, managing a request, tailoring an experience to a season or a specific audience—these details are what build a platform’s value.
This close connection to the local community also gives the project a more human dimension. Behind MiBelBoat lies a desire to transform a local experience into a regional resource.
A Blue Economy Challenge
The award received at VivaTech comes at a time when Caribbean regions are seeking to better structure their marine-related sectors. Tourism, boating, services, digital technology, and employment: the blue economy cannot remain just a general concept. It must generate tools, opportunities, and revenue for local stakeholders. MiBelBoat aims to contribute to this momentum by helping operators gain visibility and facilitating access to water-based experiences year-round. The goal remains a cautious one: to better organize existing resources, reduce dependence on scattered networks, and build—from Martinique —a solution capable of resonating throughout the entire Caribbean region.
The award received in Paris does not solve all the challenges. Above all, it brings attention to a key question: Who is building the platforms that will organize the Caribbean’s resources, industries, and experiences in the future? With MiBelBoat, Martinique offers one possible answer. It now remains to be seen how this recognition can be translated into tangible benefits for both maritime operators and travelers.
MiBelBoat is a startup based in Martinique that is developing a Caribbean platform dedicated to boating experiences. Its goal is to better connect travelers, boating operators, marinas, and tourism professionals. The platform uses artificial intelligence to streamline booking, request management, itinerary planning, and nautical concierge services.
MiBelBoat won an award at VivaTech 2026 as part of France Travail’s “Innov’ Outre-Mer” Challenge. The startup was recognized for its digital solution, developed in Martinique and tailored to the Caribbean boating industry. This recognition highlights an overseas innovation capable of addressing a concrete need: making the boating industry’s offerings clearer, more accessible, and better organized.
MiBelBoat’s goal is to reduce fragmentation in the Caribbean’s marine tourism sector. Today, many reservations are still made by phone, WhatsApp, email, or direct contact. By centralizing listings and using AI to streamline the experience, MiBelBoat aims to help operators gain visibility and give travelers better access to marine experiences.
A challenge shared by the entire region
In response to the recurring Sargassum strandings affecting many Caribbean territories, the SARSEA project (Sargassum Regional Strategies for Ecosystem-based Actions) has been bringing together regional institutions, experts, and local governments for several years around a common goal: to strengthen these territories’ capacity to anticipate, manage, and make the most of this phenomenon. Led by Expertise France and the Commission of the Organization of Eastern Caribbean States (OECS), with support from the French Development Agency (AFD), the European Union, and local partners such as the Guadeloupe Region, the program promotes the sharing of experiences and the development of solutions tailored to Caribbean realities.
Dominica, a hub for regional trade
Faced with a common challenge, an increasing number of territories in the region are coming to see cooperation as one of the most effective ways to make progress. With this in mind, a series of regional meetings was recently held in Dominica, bringing together government representatives, technical experts, regional organizations, civil society actors, and professionals from several Caribbean islands.
These discussions provided an opportunity to share on-the-ground experiences, identify best practices already in place, and explore new courses of action to improve the management of Sargassum strandings throughout the region
Martinique and Guadeloupe Share Their Expertise
This spirit of cooperation continued through a study mission organized in Martinique and Guadeloupe. A delegation composed of representatives from nine Caribbean states and territories was invited to learn about the locally developed systems for monitoring, collecting, and managing Sargassum strandings.
In particular, participants were able to observe environmental monitoring systems, offshore containment systems, early-warning tools, and several initiatives aimed at utilizing these algae. This field trip highlighted the expertise developed over the years by stakeholders in Martinique and Guadeloupe who face this phenomenon on a recurring basis.
Toward a More Resilient Caribbean
Beyond the technical aspects, these meetings reflect a broader goal: to strengthen the resilience of Caribbean regions in the face of contemporary environmental challenges.
Against a backdrop marked by the effects of climate change, the preservation of ecosystems, and the need to protect coastal economies, regional stakeholders are seeking to develop responses tailored to the realities of island life. Sharing experiences, pooling knowledge, and developing joint projects are now seen as essential tools.
A Strengthened Partnership for Coordinated Action
This commitment to working together was also demonstrated by the recent signing of a memorandum of understanding between Expertise France and the Guadeloupe Region. Through this partnership, the two institutions aim to strengthen the coordination of their efforts, promote the sharing of expertise, and support the development of innovative solutions that will benefit the entire Caribbean region.
The goal is clear: to avoid duplication of effort, improve the flow of knowledge, and encourage a more coherent approach to a phenomenon that extends far beyond administrative boundaries.
Building Tomorrow's Solutions Together
Sargassum is one of the many challenges facing the Caribbean today. Yet, beyond the difficulties it causes, it also highlights the ability of these regions to collaborate, innovate, and learn from one another.
Through these meetings, field missions, and regional partnerships, a vision of the Caribbean based on solidarity, the sharing of expertise, and collective action is gradually taking shape. Faced with a common challenge, the answer now seems clear: a stronger Caribbean is built together.
Sargassum poses a major challenge for the Caribbean because its strandings affect multiple territories at once. It impacts coastlines, tourism, fishing, coastal ecosystems, and the quality of life for affected communities. Since the phenomenon transcends administrative boundaries, local responses are not always sufficient. Regional cooperation makes it possible to better anticipate arrivals, share management methods, and develop solutions tailored to island realities.
The SARSEA project supports Caribbean regions in implementing joint strategies to address the sargassum problem. It promotes the sharing of experiences among institutions, experts, local governments, and on-the-ground stakeholders. Its goal is to strengthen these regions’ capacity to monitor Sargassum strandings, organize collection efforts, test containment methods, and explore ways to repurpose the seaweed. The project takes a regional approach, allowing each island to learn from the solutions developed by others.
Martinique and Guadeloupe regularly face sargassum strandings. This experience has enabled them to develop monitoring tools, early-warning systems, collection mechanisms, and initiatives to put the sargassum to good use. In the article, these two territories are presented as sources of expertise for other Caribbean states and territories. Their role is therefore significant, as they demonstrate how local experience can inform a collective response across the Caribbean.
In Fort-de-France, a shipwreck doesn’t need to be brought to the surface to tell a story. Sometimes all it takes is a photo, an object, or a personal account. During European Archaeology Days, Martinique chose the sea as a gateway to its history. In the gardens and spaces of the “Department of Cultural Affairs”, the exhibition “Diving into the Blue, Where Shipwrecks Lie” showcased a heritage that is often invisible: the one that lies beneath the water.
European Archaeology Days as seen from Martinique
European Archaeology Days took place on June 12, 13, and 14, 2026. In Martinique, this event took on a special significance. It wasn’t just about discussing excavations, ruins, or conservation. It was about reminding people that the island also holds a part of its history in its seabed, its bays, its beaches, and its sand.
The Department of Cultural Affairs placed the sea at the center of this local edition. This choice coincided with the 60th anniversary of DRASSM, the Department of Underwater and Submarine Archaeological Research, established in 1966. Centered on this theme, visitors could view images of shipwrecks, recovered artifacts, and the work of those who preserve these historical traces.
Jean-Sébastien France: A Passion Born in 1991
Jean-Sébastien France plays a key role. As president of the Association for the Research and Promotion of Martinique’s Underwater Archaeological Heritage, he does not present himself as an archaeologist. He speaks first and foremost as a man whose life has been shaped by a single encounter. In 1991, in southern Martinique, he took part in the discovery of an underwater archaeological site. Underwater, he saw anchors, cannons, and objects that time had deposited there. That day, he says, he felt “overwhelmed by history.” Underwater archaeology often begins with an emotional connection before evolving into research.
The association he chairs was founded in 2017. It now has about twenty members. Its goal is clear: to highlight a heritage that has long been overlooked and to raise awareness among the people of Martinique about this part of their shared history.
Wrecks, but above all, memories
The most powerful line from the interview can be summed up in a few words: “The sea doesn’t just hold shipwrecks; it also holds memories.” A shipwreck isn’t just a pile of metal or wood. It’s a trace of passage, of travel, of trade, of war, and sometimes of tragedy. An object found underwater always raises questions. Who made it? Which ship did it belong to? Where did it come from? Who lost it? Were there any missing people? Amateur divers, photographers, and organizations can spark this curiosity. Archaeologists then bring the methodology, the archives, the measurements, and scientific rigor.
During European Archaeology Days, this interplay between emotion and science found a public platform. Visitors were unable to go down into the bay of Fort-de-France or the harbor of Saint-Pierre themselves. But they were able to view these seabeds in a new light, thanks to the images and artifacts on display.
Through the lens of photographer Jacques-Yves Imbert
The exhibition owes a great deal to photography. Photographer Jacques-Yves Imbert is one of those artists whose vision allows the general public to gain access to a world that is otherwise difficult to reach. In underwater archaeology, images document, convey, and preserve a record.
Jean-Sébastien France reminds us: nothing remains unchanged at sea. Salt, currents, swells, sand, and coral transform shipwrecks. Some will eventually disappear. Photographs then become witnesses for future generations. They also make this heritage accessible to those who do not dive.
The Sikorsky S43B: A Story of the Islands
Among the most striking stories, that of the Sikorsky S43B gives tangible form to this submerged memory. This seaplane carried passengers between the islands. During a landing in Fort-de-France Bay, the sea was rough. The aircraft lost stability, hit the water, and capsized. Today, the wreck lies upside down at the bottom of the bay.
This site requires caution. The bottom is muddy. Any sudden movement can stir up the water and reduce visibility. A photogrammetric image was used to reconstruct the seaplane in 3D from several hundred photos. Here, technology helps us understand without causing damage.
European Archaeology Days: Heritage for Culture and Tourism
The European Archaeology Days also highlight another idea: tourism in Martinique can be enriched by deeper stories of its heritage. Martinique is not defined solely by its beaches, gardens, distilleries, or hills. It is also defined by its shipwrecks, maritime routes, remains buried beneath the sand, Native American traces, and memories linked to slavery.
But this heritage comes with a rule: Do not touch. Do not take anything. These objects belong to our shared history. Perhaps this is the most important lesson left by these European Archaeology Days: learning to look at the sea differently not as a backdrop, but as Martinique’s fragile library.
European Archaeology Days is an event dedicated to exploring archaeological heritage. In Martinique, the 2026 edition highlighted the sea, shipwrecks, underwater artifacts, and traces of heritage preserved on the seabed. The event gave the public a better understanding of a part of Martinique’s history that is often hidden from view—located beneath the sea, in the bays, on the beaches, and beneath the sand.
Underwater archaeology is important to Martinique because it reveals fragments of history that cannot be seen from land. Shipwrecks, anchors, cannons, ancient artifacts, and submerged remains tell the story of maritime routes, shipwrecks, trade between the islands, and Martinique’s ties to the Caribbean. This heritage is fragile, as salt, sand, waves, and coral can gradually alter it or cause it to disappear.
The ARVPAM, chaired by Jean-Sébastien France, works to raise awareness of Martinique’s underwater archaeological heritage. The association serves as a link between divers, photographers, institutions, archaeologists, and the general public. Its role is to raise awareness among the people of Martinique about this underwater heritage, to highlight the value of artifacts and shipwrecks, and to emphasize that this heritage must be protected, studied, and preserved in accordance with scientific standards.
At the Grand Carbet in the Aimé-Césaire Cultural Park, Maureen-Alycia Lucéa-Merlin was crowned Miss Martinique 2026. At 24, the young woman from Fort-de-France brings a background rooted in elder care, compassion, and the passing down of traditions. Her victory represents a new way of showcasing Martinique.
An Evening at the Grand Carbet
On Saturday, June 13, at the Grand Carbet in Aimé-Césaire Cultural Park, the crowd’s cheers marked the end of a highly anticipated evening. Ten contestants were in the running. On stage, all eyes turned to Maureen-Alycia Lucéa-Merlin, contestant number 6, as the results were announced. In a matter of seconds, a new chapter began. Maureen-Alycia Lucéa-Merlin was crowned Miss Martinique 2026, before an audience that had come to support the contestants and experience a highlight of the Martinique calendar. The crown changed hands. She succeeded Léaline Patry, who had been crowned the previous year.
The pageant may seem familiar. A stage, costumes, applause, a ranking. But behind the official image, one question always comes up: what does a Miss title really mean for her region? In the case of Miss Martinique 2026, the answer goes beyond the night of the pageant.
A 24-year-old woman from Martinique
Maureen-Alycia Lucéa-Merlin is 24 years old. She is from Fort-de-France. She was crowned Miss France based on the jury’s decision and the public vote. Alongside her, Nathanëlle Hélène was named first runner-up, Loane Nodin second runner-up, Laura Laventure third runner-up, and Laurine Lixfe fourth runner-up. These details matter. They give the event its specific context. Miss Martinique 2026 is not an abstract story of representation. It is a pageant rooted in a city, in a cultural scene, in an audience, and in the promotion of candidates from Martinique.
Another thing that sets Maureen-Alycia Lucéa-Merlin apart is her professional background. She works in the nursing home sector, caring for the elderly. This aspect adds a unique dimension to her reign. The new Miss brings with her experience in building connections, listening, and understanding the daily lives of the elderly.
The Crown and the Elders
In many Caribbean regions, elders hold a special place. They preserve family histories, neighborhood stories, memories of migration, Creole words, and traditions learned before the advent of screens. In Martinique, this collective memory is also a cultural force. Maureen-Alycia Lucéa-Merlin’s journey thus sheds light on a topic rarely associated with beauty pageants: the perspective on older adults. Behind the sash is a young woman who understands the world of old age—its demands, its modesty, its frailties, and its dignity.
Miss Martinique 2026 could be framed as a celebrity story. But it can also be seen as the crowning of a young woman who places kindness and mentorship at the heart of her public image. In a pageant often reduced to mere appearance, this aspect changes the narrative. It reminds us that a representative of her region also embodies a certain way of speaking, of carrying herself, of looking at others, and of choosing the causes she champions.
Represent Martinique
The title of Miss Martinique 2026 brings immediate visibility. For several months, Maureen-Alycia Lucéa-Merlin will be associated with Martinique’s image in the media, at events, and at Miss France-related gatherings. This visibility is never neutral. For a region, a Miss often becomes a showcase. She is expected to embody elegance, but also to speak out, command the room, and articulate her roots. In the case of Martinique, these words can carry great weight: history, language, communities, families, women, youth, and memory.
We must therefore avoid reducing the pageant to a mere competition. The final ranking determines who won. But the year of her reign will reveal what Maureen-Alycia Lucéa-Merlin chooses to highlight. That is when Miss Martinique 2026 will truly come into its own.
The next step
Following her victory in the local pageant, Maureen-Alycia Lucéa-Merlin will represent Martinique in the upcoming Miss France pageant. This national stage will give her a wider audience. There, she will need to represent not only herself but also a part of Martinique. It’s a twofold challenge. She will have to make her mark in a highly publicized competition while remaining true to what has shaped her journey. For Miss Martinique 2026, the challenge will not only be to be seen. It will also be to be heard.
A candidate isn’t just a place on a map. She embodies a history, a way of life, an accent, cultural references, and sometimes issues that France pays too little attention to.
A year to watch
Maureen-Alycia Lucéa-Merlin’s coronation thus kicks off a year worth watching. Her journey, her connection to her elders, and the way she embodies the title may give this crown a deeper significance than the expected image. Miss Martinique 2026 begins with a gala, a title, and a sash. What happens next will depend on what Maureen-Alycia Lucéa-Merlin chooses to do with it. A crown can remain a symbol. It can also become a voice. In Martinique, that voice will be closely watched.
Miss Martinique 2026 is Maureen-Alycia Lucéa-Merlin. A native of Fort-de-France, she was crowned at the Grand Carbet in the Aimé-Césaire Cultural Park. Her background is distinguished by her connection to the nursing home sector and the senior community. Beyond the crown, her election highlights a young woman from Martinique who is committed to passing on traditions, listening to others, and representing her region.
The Miss Martinique 2026 pageant is more than just a beauty contest. It provides national visibility to a young woman from Martinique who is tasked with representing her region, its history, its culture, and its youth. Through Maureen-Alycia Lucéa-Merlin, this crown can also convey a message about seniors, dignity, and the bond between generations.
Following her local pageant victory, Miss Martinique 2026 will represent Martinique in the upcoming Miss France pageant. This opportunity will allow her to showcase the island’s image on a broader stage. Her challenge will be to stay true to her journey, while giving voice to a strong, human perspective from Martinique that is rooted in tradition.
With WHO, Wil Aime signs his first feature film and returns to the West Indies with a team, a method and a story of creation. In Guadeloupe and Martinique, his tour revealed the other side of the story: that of a film that has been supported for years, between independent creation, territorial support and the desire to make his own cinema.
A comeback tour
The public saw the theaters, the meetings, the photos, the post-screening exchanges. Behind this tour of WHO in Guadeloupe and Martinique, there was a precise mechanism. Dates to organize. Partners to mobilize. A team to bring in. Above all, one desire: to present the film where part of its imagination took root.
From May 30 to June 1, 2026, Wil Aime and his team enjoyed a series of highlights: a special screening at Cinestar, a Creative Talk at Café Papier in Jarry, a screening at Madiana, and meetings with professionals, students, media and cultural players. In the interview conducted around this event, Wil Aime explains that presenting the film in the Antilles was important to him. Guadeloupe and Martinique appear to be territories of attachment, inspiration and return.
A film inspired by the West Indies
Some sequences from WHO were shot in Guadeloupe. The film travels between France, the French overseas territories, Belgium, Switzerland, Canada and French-speaking Africa. The work is the brainchild of a Guadeloupean creator, developed in an independent framework, then seeks its audience beyond the usual frontiers of French cinema.
In the Creative Talk, Wil Aime talks about the Antilles as a place that nourished the film. He talks about these islands, their place in the French-speaking world, their position in a wider imaginary. The film reveals something of the relationship with the territory: the landscapes, the tensions, the identities, the way of situating oneself when one comes from an area often presented as small, whereas it produces talents capable of going very far.
Making movies
The heart of this story may lie in a nuance. During the exchange with the audience, Wil Aime talks about the dream of “making my own cinema”. Before the feature film, there were the videos. Short formats. Tales with drawers. Scenarios where detail counts. With WHO, this grammar built on social networks changes scale.
The transition to feature film requires a different kind of discipline. Wil Aime admits it himself: moving from social networks to film meant learning how to convey his vision. On a film, an idea has to be understood, carried and executed by many more people.
Chaque Détail Productions, a team built to last
Behind the scenes of WHO, there’s a collective: Ashley, Samira, Gary, Yasser, Emmanuel and the other members of Chaque Détail Productions. Many of them learned on the job. The word that comes to mind is versatility.
Ashley, co-founder and sister of Wil Aime, tells of an adventure that began even before the structure really existed. Samira talks about starting up with a smartphone. Gary talks about his technical apprenticeship. Yasser insists on his role in the field. Emmanuel brings production, distribution and broadcasting experience to the table. This collective gives WHO a concrete dimension. The film moves forward thanks to a team that learns, adapts, looks for solutions and accepts to work outside the most comfortable paths.
Transmitting a vision to 400 people
One of the strongest passages in the interview concerns the challenge of artistic management. Wil Aime explains that his close-knit team works almost as one. With them, ideas flow quickly. The real challenge comes when you have to extend this vision to a much larger team.
He speaks of 400 people having worked on the film. At this scale, the vision has to be transmitted, understood, reformulated and carried by each department. For him, this was one of the greatest difficulties of the project. We had to learn to communicate differently.
Guadeloupe as a creative territory
The Guadeloupe Region provided support for the film, notably for post-production. With the CTIG, it also supported the visit of Wil Aime and his crew to Guadeloupe and Martinique. Behind this support, there’s a broader aim: to show that Guadeloupe can be a welcoming territory for film shoots, a space for audiovisual creation and a place of emergence for new talent.
A film like WHO examines the place of overseas creators in the cultural industries. It shows the importance of bridges between Guadeloupe, Martinique, mainland France, French-speaking Canada and French-speaking Africa.
What WHO opens
In the Creative Talk, one idea runs through several speeches: how do you go big when you come from a territory often perceived as small? Wil Aime responds with usefulness, sincerity and modest beginnings. He talks about family, loved ones and first circles. He reminds us that a project often grows from a small space, a small room, a notebook.
Perhaps this is where WHO has become a textbook case for a generation of Caribbean creators seeking a different way of telling stories, a different way of producing, a different way of circulating. His journey shows the difficulties, the detours, the refusals, the negotiations, the learning.
The future will tell what Chaque Détail Productions will build after this stage. For now, WHO leaves an open question for the Caribbean territories: how can we turn these successes into a sustainable industry, so that other dreams of cinema also find their way to the screen?
WHO marks an important milestone, as it is the first feature-length film by Wil Aime, a Guadeloupean creator known for his short stories and psychological thrillers. The film also highlights Guadeloupe as a territory of creation, inspiration and welcome for audiovisual projects capable of circulating in France, the West Indies, Canada and French-speaking Africa.
Guadeloupe and Martinique were the focus of a special tour around WHO, with screenings, meetings with the public and Creative Talks for professionals, students, media and cultural players. For Wil Aime, this visit to the West Indies was of particular value, as these territories have nurtured the film’s imagination and represent a place of return for his team.
Backstage at WHO shows a collective adventure built over time. Around Wil Aime, the Chaque Détail Productions team moved forward with an independent method, a great deal of versatility and a strong desire to maintain a clear artistic vision. The project also tells the story of a creator’s transition from social networks to cinema, with all the human, technical and creative challenges that implies.
