News / Little-known places / View Recent Posts

Jacmel Carnival 2026: A major showcase of Haitian cultural creativity

Discover the Jacmel Carnival 2026, a symbol of Haitian cultural richness. Immerse yourself in the art and creativity of this unmissable festival!

Why All Eyes Should Be on Port Chinourette: Haiti’s Biggest Economic Opportunity in 100 Years

For more than 200 years, Haïti has stood at the intersection of possibility and exclusion. The first black republic in the world was born in revolution, forged by boldness, and blessed with strategic geography. And yet, through a combination of political instability, external interference, and poor infrastructure, Haïti has long remained isolated from the global economic systems that build prosperity. But today, on the quiet northern coast between Fort-Liberté and Phaeton, a new possibility is rising up from the ground. It’s not another aid project. It’s not a symbolic ribbon-cutting. It is Port Chinourette Terminal, a bold and meticulously planned cargo port that could finally put Haïti back on the map, not as a beneficiary of generosity, but as a competitive player in global trade. Port Chinourette is more than a logistics terminal. It’s a strategic inflection point. The kind of once-in-a-century infrastructure investment that can create jobs, stimulate industries, decentralize growth, and transform the economy of an entire nation. With capacity to handle up to three-million TEUs annually by 2040, it is the most ambitious port project in Haiti’s recent history. But its true power lies not only in its size, but in what it unlocks.

Coupé Cloué, the king of Haitian music.

Coupé Cloué, whose real name is Jean Gesner Henry, is a genius of Haitian music, both singer and musician, his mark in the musical pantheon of Haïti is alongside the most prestigious names, such as Nemours Jean-Baptiste, Robert Sico et al.

Haiti: A Little-Known Pillar of World Independence

Haiti, the world’s first independent black republic, played an exceptional role in the quest for independence for other nations. Although often overshadowed by other historical events, Haiti’s contribution to the liberation of other countries was significant and deserves to be highlighted. b~The Haitian Revolution~b At the turn of the 19th century, Haïti threw off the chains of slavery and achieved the impossible by freeing itself from French colonial rule. In 1804, the country proclaimed its independence, ushering in a new era for oppressed peoples around the world. b~Inspiration for Latin America~b The Haitian Revolution was a major source of inspiration for independence movements in Latin America. Iconic figures such as Simón Bolívar and Francisco de Miranda recognized the courage and determination of Haitians as a driving force for their own struggles. By materially and ideologically supporting these movements, Haïti contributed to the emergence of several independent nations in South America. b~Influence in Africa~b Beyond the Americas, Haïti also played a crucial role in the quest for independence in Africa. African leaders have left a legacy that has inspired entire generations of freedom fighters on the African continent. The idea that oppressed people could rise up against their oppressors found a powerful echo in the struggles for independence in Africa. b~Support for Liberation Movements~b Throughout its history, Haïti has provided substantial support to liberation movements around the world. Whether through troop dispatches, financial resources or active diplomacy, the country has demonstrated its solidarity with those fighting for their autonomy. Haiti’s contributions have often been discreet but crucial. Haiti, as a pioneer of independence and freedom, has left a lasting impact on the world stage. His legacy resonates across continents, reminding the world that the quest for freedom is universal. By recognizing and celebrating Haiti’s role in the independence of other nations, we not only honor its history, but we also commit to promoting a future where all people have the opportunity to shape their destiny.

Emeline Michel, the diva of Haitian music

Emeline Michel was born on March 21, 1966 in Dubedou, a small town located in the 5th communal section of Gonaïves, the city of Haitian independence. Both a singer and composer, today her influence transcends and goes beyond the borders of Haïti and the French-speaking world. After starting secondary studies at the Lycée Louis Diaquoi commonly known as the Lycée de jeunes filles des Gonaïves, she entered Port-au-Prince, at one point, to continue her studies at the Collège St Pierre de Port-au-Prince. It was in the Haitian capital, more precisely at the Baptiste de Bolosse church, that her talent was discovered and supported by religious leaders, who offered her scholarships to study music. It is his steps that will be the basis of his exceptional musical career, placing his name among the proudest Haitians and alongside the greatest names in Haitian music, such as Lionel Benjamin, Beethova Obas and Yole Dérose his mentor.

Haiti: Carnival and Rara: Crossed Perspectives on Culture and Haitian Identity

In our tradition, carnival represents an essential cultural activity. Indeed, for the holding of it this year, the State had drawn from the public treasury not only a huge sum but also a strong concentration of law enforcement to ensure the protection and security of carnival-goers in the area. metropolitan. Despite numerous criticisms and concerns expressed by certain media on the one hand, then on the other hand by the democratic opposition. While it is true that in Port au Prince these concerns had had a no less valuable consequence on the progress of this festivity. It is no less true that this was the case in other provincial towns, as proof in the southeast department the authorities did not record anything as an element of accident or incident during the progress of the carnival unlike Port au Prince. Certainly, socio/economic problems are increasingly worrying, nevertheless what makes us what we are today, a free and independent people is none other than our exceptionality. This deeply expresses our intrinsic characteristic in relation to people. In fact, historically we are a people who laugh and cry, smile and irritate, dance and hit the system, sing and fight so well that "grenadya alaso sa ki mouri zafè ya yo" is the most emblematic song of the slaves for the conquest of our freedom. We do not intend to claim that those who expressed their disagreement with the carnival are showing a historical deficit. However, we leave in the shadows a fundamental question: why is carnival taken care of by the State while the rara is like an abandoned child? The rara is not only a simple cultural tradition but, above all, it is the heritage of our valiant warriors who bravely fought the French expeditionary army, the most powerful of the time. While, this mass cultural, she is still marginalized by state authorities. It is emphasized that social cohesion is the dead point of carnival. On the other hand, this is the strong point of rara. As proof, the Thursday of the Dead in our Voudouesque tradition which represents the opening ceremony for the rara bands is the blatant testimony of this social cohesion. And, in fact, there were circles of people who took divergent directions to attend the opening ceremony of their rara bands. For this opening ceremony the atmosphere was a taste of carnival in terms of color. On the side of Croix Hilaire, for the title champion Ratyèfè full force band, the color of his club was very diverse, a long dress of apricot yellow, mauve white, then white scarf. In terms of performance, this band had completely proven its champion skills thanks to its arsenal of musicians who were not in their testing phase. To tell the truth, they performed their note with surgical precision as a doctor-surgeon in his surgical procedure. The synchronization between the musicians, the instruments and then the fans form a whole and harmonize perfectly well. This band not only has the magic of words and verbs, it seems that they also have the magic to thrill even the most reluctant fans. Moreover, his performance for this dead Thursday was a challenge for his rivals this weekend to the extent that their performances were less good. On the symbol side of light, Grap Kenèp was the wonder of the Thursday evening of the dead. His club dressed in the appropriate color for this evening, purple scarf, purple jersey, then white “kolan”. In a symbolic way, this marriage of color represents Baron in Haitian Vodou. Without a doubt, it was the most beautiful symbolic representation of the evening. In terms of performance, returning from the cemetery we felt a very strong warmth of jubilation, elation, and playfulness for a completely balanced performance. As far as Chenn Tamarin is concerned, it was already 2 a.m. when our team met him, it was a less good performance than what we were accustomed to. On the symbolic side it leaves something to be desired. His news was that he had his own media. Petit-Goave/Culture and Society