Please introduce your organisation, tell us a little bit about where in the region you are based, and share some of the major ideas and themes you engage with in your practice.
The Waitukubuli Artist Association (WAA) is an artist collective based in Dominica, with around 90 members from various creative disciplines. Our mission is to elevate artistic expression on the island and foster a deeper appreciation for the arts within Dominican society. We’ve collaborated on numerous projects; murals, exhibitions, workshops, and public events, that not only support the growth of our members but also engage the wider community in meaningful dialogue.
Our work often explores themes of cultural identity, resilience, and community, and we’re deeply committed to environmental awareness. Many of our murals and outreach efforts focus on climate resilience, sustainable living, and the vital role of women in agriculture. As artists, we see our practice as a tool for education, activism, and cultural preservation rooted in the Caribbean experience, but always forward-thinking.
Can you speak about how the ancient tradition of Koudmen, or ‘‘working together as one’, influenced your 2024 project ‘Echoes of Resistance: Rising against cultural loss and Global oppression’ and tell us something about this methodology of collaboration and what your organisation has learned from this practice?
From its inception, Echoes of Resilience has been a deeply collaborative effort. We created intentional spaces, creative sessions and sharing circles where artists could inspire one another by exchanging stories, ideas, and experiences. These gatherings allowed concepts to be passed around, shaped, and expanded collectively.
The spirit of “Koudmen” – a traditional Dominican value rooted in community, mutual support, and collective work – was central to our process. It’s a mindset that prioritizes collectivism over individualism. Through this approach, we found that creative resilience is stronger when nurtured in community. It reminded us that resisting cultural loss and global oppression isn’t just about individual expression, but about showing up for each other, building together, and amplifying each other’s voices.
In addition to initiatives like TENDER, what other kinds of support or programming geared towards the needs of contemporary creative practitioners would you like to see implemented in the Caribbean?
What’s already being done, initiatives such as TENDER, is a strong start that both the Association and our members are truly thankful for. In addition, there’s a real need for more structured, long-term support for contemporary creatives in the Caribbean. This could include things like residency and exchange programs between islands, making it easier for artists to collaborate regionally and build stronger Caribbean networks.
We’d also benefit from more investment in creative infrastructure. Things like accessible studio spaces, equipment libraries, and community-run galleries or project spaces. These kinds of resources help artists move from idea to execution sustainably.
Mentorship and professional development programs are also key. Many emerging artists lack access to guidance on things like pricing their work, managing projects, or applying for grants. Practical, regionally relevant support like this would empower more creatives to build lasting careers while staying rooted in the Caribbean.
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