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Nothing Like an Idea Whose Time Has Come


A Personal Reflection on Film, Policy, and Serving St. Vincent and the Grenadines

By Akley Olton

February 17, 2026


During the 2026 Budget Debate, Minister Kashaka Cupid said something that stopped me in my tracks:

“There is of course the Akley Oltons who have been heralded regionally and internationally for their work but yet still struggle for local recognition…”

That moment wasn’t just about me.It was about a shift in how a nation begins to see itself.

For years, many of us working in the creative industries in St. Vincent and the Grenadines have operated in a space that feels both visible and invisible at the same time — celebrated abroad, questioned at home.

But something is changing.


Vincentian Storytelling: From Creative Roots to the Global Orange Economy

Filmmaking and visual media in St. Vincent and the Grenadines (SVG) have deep historical and cultural foundations, emerging not from formal industry structures but from a rich tradition of storytelling, community expression, and grassroots creativity. Long before dedicated policies or incentives existed, Vincentians captured their lives, heritage, and aspirations through documentaries, narratives, music videos, commercials, and community broadcasting.


A landmark early work is Omega Rising: Women of Rastafari (1988), directed by Vincentian-British filmmaker D. Elmina “Sister D” Davis. This powerful documentary amplified the voices of Rastafari women through intimate interviews, music, and lived realities, contributing significantly to Caribbean visual documentation from the diaspora perspective.


Local narrative filmmaking followed, with productions like Maurice Horne’s The Bitter End airing on platforms such as SVG TV, showcasing emerging storytelling talent rooted in Vincentian experience.


Music video production has thrived as well, with creatives like Junior Lee directing for international artists while collaborating with local cinematographers such as Jason Providence, technicians Javid Collins, and Virad Peters. These efforts highlight the capability of Vincentian crews to execute complex, professional shoots.


Community broadcasters like SVG TV and IK TV have long provided vital platforms for local content, from short documentaries preserving heritage and environment to branded pieces reflecting everyday life.


Grassroots Ecosystems & Cultural Growth Across the islands, storytelling continues to grow from the ground up. Initiatives like The Hub Collective in Bequia are nurturing young creatives through workshops, mentorship, and hands-on storytelling rooted in identity.


The Hairouna Film Festival has created space for Caribbean cinema, connecting film with tourism, heritage, and youth development—showing what is possible when community and creativity align.


The islands’ stunning landscapes also draw commercial and tourism shoots—drone footage of cruise ships, location features in music videos, and travel media—turning natural beauty into a vibrant backdrop for global visual narratives.


SVG’s appeal as a media location has grown, attracting high-profile creators and boosting international visibility. YouTuber MrBeast (Jimmy Donaldson) filmed a desert island survival challenge on a Vincentian island, exposing its remote allure to millions. Travel icon Anthony Bourdain explored nearby Grenadine islands in No Reservations, delving into Caribbean culture, cuisine, and perspectives—experiences that subtly but powerfully placed SVG on the global map.


Today, this legacy blossoms into a flourishing contemporary ecosystem. A historic milestone came at CARIFESTA XV in Barbados (2025), where Vincentian films made their regional debut in force, showcasing diverse voices and themes from cultural reclamation to volcanic resilience and humor:

Other established practitioners like Tolga Akacyli, Javed DaSouza, Hayden K. Billingy, Fabian Guerra, Sean Roache, and Jemmel Williams contribute shorts, animations, and music videos that mirror Vincentian lived realities. Local crews, often led by talents like Colin Browne, continue to support international music videos shot across SVG, proving professional caliber on world stages.


This creative momentum aligns with the Orange Economy—the cultural and creative industries championed by CARICOM, UNESCO, and regional partners as engines for growth, identity preservation, and diversification. Globally, the sector generates over $2.25 trillion annually (3% of world GDP) and employs 50 million people, with creative exports surging dramatically in recent years. By 2030, it could reach 10% of global GDP, fueled by digital platforms and authentic content demand.


Regionally, CARICOM’s creative economy contributes 3–5% of GDP through music, film, fashion, and festivals. For SVG, challenges persist—underdevelopment, funding limits, infrastructure gaps, and talent migration—but authentic stories and culture offer immense potential.


The 2026 budget reflects this strategic shift. The Ministry of Youth, Sports, Culture & Creative Industries received a $2.63 million allocation for Culture & Creative Industries, emphasizing youth training, skills development, equipment concessions (including duty-free imports), and tools like virtual reality and animation to democratize media.


These investments aim to treat creativity as structured economic activity, generating jobs, exports, and tourism synergies. Plans for a National Innovation Hub, Creative Industries Act, and a Performing Arts Centre signal commitment to infrastructure and sustained growth.


Film transcends entertainment, serving as powerful tourism promotion and national branding. Cinematic depictions of SVG’s landscapes, communities, and history can ignite travel interest, deepen visitor experiences, and embed the nation in global media. Local productions stimulate hospitality, transportation, catering, crafts, and digital services, creating cross-sector circulation.


A proposed National Film Commission would build on natural assets and talent to attract international shoots—echoing successes like Pirates of the Caribbean: The Curse of the Black Pearl.


During the 2026 Budget Debate, Minister Kashaka Cupid highlighted a poignant truth: “ We must stop frowning upon young people who choose to study theatre arts, music, videography, cinematography, and drama.”…” This acknowledgment marks a cultural turning point—moving from visibility abroad and invisibility at home toward national embrace.



As a Vincentian filmmaker, I’ve witnessed this duality firsthand. For over 15 years, with limited resources but unwavering purpose, I’ve created work like Madulu, The Seaman (Best Short Documentary at Festival Internacional de Cine de Gibara, OAS-SEDI Award, Hot Docs selection, streaming on Criterion Channel) and Sugar Lands (screened internationally and within Garifuna communities). These films preserve dying traditions, explore identity and reparations, and resonate globally—proof that Vincentian stories can compete at the highest levels when given space.


Through UNESCO’s Transcultura Programme and other platforms, I’ve advocated for Caribbean storytelling. Now, as Cultural Ambassador for SVG, I’m committed to mentorship, collaboration, advocacy, and consultation—not for personal acclaim, but for nation-building.


We stand at a pivotal moment. We have the stories, talent, and global proof—from Sister D’s legacy and early pioneers to today’s vibrant voices. With policy momentum, infrastructure investment, and a needed cultural shift—stopping the frown upon creative paths like videography, cinematography, and drama—we can build systems to match our potential.


Film is economic strategy, cultural diplomacy, and heritage preservation. It turns culture into sustainable experience and income. Vision without execution falls short, but intention, acknowledgment, and movement are here.


Now is our time. We have the roots. We have the momentum. Let’s grow the Orange Economy—vibrant, nuanced, deeply Vincentian, and boundless.


Just say the word.


Akley Olton Independent Vincentian Creative & Cultural Ambassador Belair, St. Vincent and the Grenadines February 2026


 
 
 

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