Dans le département du Sud-Est, plus précisément dans la commune de Marigot, les vents violents provoqués par la tempête tropicale Mélissa ont déraciné un arbre qui a tué un homme âgé d’environ 70 ans. Cinq autres personnes ont été blessées dans le département de l’Artibonite, selon un premier bilan communiqué par la Direction de la protection civile (DPC).
Depuis le début de la semaine, les prévisionnistes de l’Unité hydrométéorologique d’Haïti (UHM), les responsables de la Protection civile et ceux du SEMANAH multiplient les messages de sensibilisation à travers les médias et les réseaux sociaux pour alerter la population sur les menaces liées à la tempête Mélissa.
Cinq départements géographiques du pays ont été placés en état de vigilance orange : la Grand’Anse, les Nippes, le Sud, le Sud-Est et l’Ouest.
Les autorités mettent en garde contre les risques de pluies torrentielles, d’inondations, de glissements de terrain et d’éboulements dans plusieurs zones vulnérables. Les habitants des zones rurales ainsi que les navigateurs sont particulièrement appelés à la prudence.
À Marigot, sous la pression des vents violents de Mélissa, un arbre s’est effondré sur un septuagénaire dont l’identité n’a pas encore été révélée. Dans l’Artibonite, cinq autres personnes ont été blessées à cause de l’inondation, selon le rapport de la DPC.
Les autorités exhortent la population à suivre les consignes de sécurité et à rester à l’écoute des bulletins météorologiques pendant le passage de la tempête.
Il sculpte là où le monde détourne les yeux. Woodly Caymitte, « Filipo », fait de la sculpture un geste politique : réveiller la mémoire, dénoncer l’injustice, refuser l’oubli. Du buste de George Floyd aux figures muettes de la souffrance contemporaine, son œuvre répare, accuse et élève. Entre Haïti, l’Europe et les États-Unis, Filipo impose une sculpture de combat, qui met le fer, le bronze et la résine au service de la dignité humaine.La section culturelle de la RTVC propose à son lectorat ce portrait de l’un des meilleurs sculpteurs haïtiens contemporains.
RTVC – Quel nom préfères-tu qu’on utilise pour cet article ? (Woodly Caymitte, Filipo, ou autre ?)
Woodly Caymitte Filipo – Je préfère Woodly Caymitte dit Filipo. Parce que je suis les trois.
RTVC – Quel moment précis t’a fait comprendre que tu devais sculpter (ou « faire de l’art ») ? Une anecdote d’atelier, une rencontre ?
WCF – Un jour, mon professeur de sculpture Ludovic Booz de regretter memoire m’a surpris en train de pratiquer la céramique artistique. Il m’a regardé et m’a dit : Je ne vois pas un céramiste… je vois un sculpteur. Il ne voulait pas que je me limite à la céramique, car il percevait en moi une vocation plus grande, celle de la sculpture.
Je sais que la sculpture est devenue ma passion le jour où j’ai réalisé que, lorsque je crée, le temps n’existe plus. Au départ, je faisais de l’art pour m’amuser, sans véritable but. Mais un jour, c’est l’art qui m’a choisi.
Ma famille ne savait même pas que je sculptais, ni que j’étais inscrit dans une école d’art, jusqu’à ma deuxième année d’études.
« Clarisse », bronze monumental de Woodly Caymitte Filipo inauguré à La Rochelle le 10 mai 2024.
RTVC – Tu as travaillé entre Haïti, la France et les États-Unis : comment ces différents contextes ont-ils transformé ta manière de penser la sculpture ?
WCF – En Haïti, j’étais le petit Filipo, celui qui nourrissait son âme de rêves, avec peu de moyens, mais beaucoup de passion. Certains me prenaient pour un fou, un jeune qui ne ferait jamais grand-chose, qui jouait dans la boue après des années d’études. Mais pour mes amis proches j’avais du talent.
Ailleurs, dans d’autres pays, j’ai grandi à travers les expériences. On m’a fait confiance sur de grands projets artistiques sans savoir de quelle famille je suis. Juste en découvrant mon travail via mon portfolio, et surtout, en comprenant ma vision.
RTVC – Tu as aussi réalisé un buste de George Floyd en mai 2020 et offert des œuvres à des institutions : comment choisis-tu les figures que tu veux honorer ou défendre par la sculpture ?
WCF – Mon art naît là où le silence fait mal. Il naît dans ces zones oubliées, dans ces douleurs qu’on cache, dans ces cris qu’on n’entend plus.
Quand j’ai vu la vidéo de George Floyd ce n’était pas un simple fait divers. C’était un appel, un miroir. J’ai senti ce souffle coupé entrer en moi. Ça aurait pu être moi. Ou un autre. Un frère. Un noir. Un humain. Alors j’ai sculpté, non pas un corps, mais une mémoire vivante, une figure de résistance, pour ne pas oublier — pour que l’injustice cesse d’être un spectacle passager.
Je ne choisis pas les sujets. C’est mon âme qui me parle. Et elle me pousse vers ce qui dérange, ce qu’on laisse dormir dans les tiroirs du monde : la souffrance des femmes et des enfants, les esclaves modernes, les oubliés, les handicapés, la voix muette de la nature qui s’effondre.
Buste de Georges Floyd réalisé par le sculpteur Filipo.
Mon travail est un pont. L’esthétique de la laideur. Entre l’invisible et le tangible. Entre la douleur et la beauté. Entre ce qui ne se dit pas… et ce qui doit se montrer. Je sculpte pour ceux qui n’ont pas de place, mais qui portent, en silence, le poids du monde.
RTVC – Tu as une façon particulière de travailler le bronze / la résine / le fer — peux-tu décrire une étape technique que tu considères essentielle dans ta pratique ? (pour les lecteurs qui aiment le concret)
WCF – Oui, chaque matériaux ses exigences et ses mystères. Travailler le bronze, par exemple, c’est une discipline rigoureuse, presque un rituel. Il faut passer par plusieurs étapes essentielles : le moulage, la cire perdue, le coulage à haute température, puis vient le temps de nettoyer, souder, et enfin patiner le métal pour lui donner sa texture et sa couleur finale. C’est un processus dur, parfois dangereux, mais profondément noble.
Avec la résine, je fais attention à la toxicité. Il existe des résines plus respectueuses de l’environnement, que je privilégie quand c’est possible.
Le fer, lui, m’ouvre à la transformation des métaux — aluminium, cuivre, bronze. Je dois le conformer, découper, souder, presque comme si je le forgeais à mon image.
Chaque matière a son langage, et moi je me tiens à l’écoute, prêt à le traduire en forme
RTVC – Tu as enseigné / partagé ton savoir, quelle importance a la transmission pour toi ? Qu’est-ce que tu cherches à transmettre ?
WCF – Transmettre, c’est faire vivre. C’est un acte fondamental, surtout dans un monde en constante mutation. À travers mon parcours, notamment à l’ENARTS (Haïti) ISA (Cuba), j’ai compris que le métier de sculpteur, pourtant millénaire, est en train de se perdre, souvent au profit de pratiques plus virtuelles ou immédiates.
Or, a sculpture est une école de la patience, de l’observation et du geste. Elle apprend à voir au-delà des apparences, à ressentir le volume, à dialoguer avec la matière. Elle relie l’humain à ses racines, à son corps, à son histoire. Dans mon enseignement, je cherche à réveiller ces capacités manuelles, à faire redécouvrir le pouvoir du toucher, de la forme, de la transformation. Mais surtout, je transmets une culture, un héritage celui des grands sculpteurs, des gestes anciens, des luttes humaines incarnées dans la matière.
Transmettre, pour moi, c’est aussi donner accès à une dignité par le savoir-faire, ouvrir des voies vers d’autres métiers ( design, art public, artisanat, restauration, scénographie.)
La sculpture n’est pas qu’un art : c’est une philosophie du concret
RTVC – Est-ce que tu considères ton travail comme un acte politique ? Si oui, comment tu navigues entre mémoire, commémoration et esthétique ?
WCF – Oui, je considère mon travail comme un acte politique. Pas au sens partisan, mais dans le sens profond du mot : agir sur la société, poser un regard, laisser une trace. Ma sculpture parle des oubliés, des victimes sans voix, des héros invisibles. Elle interroge l’esclavage, la violence, l’injustice. Elle remet en lumière des mémoires qu’on tente souvent d’effacer. Je navigue entre mémoire, commémoration et esthétique en cherchant un équilibre : honorer le passé sans le figer, donner du sens à la forme, toucher les consciences sans détourner le regard. L’esthétique n’est pas là pour adoucir le message, mais pour le rendre visible, sensible, humain. Sculpter, pour moi, c’est redonner corps à ce qu’on ne voit plus.
Buste de l’empereur Jacques 1e, réalisé par le sculpteur Woddly Caymitte Filipo.
RTVC – Sur quoi tu travailles maintenant ? Un projet que tu veux partager (expo, commande, résidence) WCF – Sincèrement, je ne parle pas de mes projets sans que ce n’est pas a 89.9 pourcents au public.
RTVC – Si tu pouvais porter un message aux jeunes sculpteurs haïtiens, quel serait-il ?
WCF – La sculpture est un métier exigeant, parfois difficile mais profondément noble. Il faut de l’amour, de la patience, de l’espace intérieur, et surtout de la passion.
Apprends à entrer en contact avec l’univers , la matière, à l’écouter, à la transformer. Pousse tes limites, ose aller là où on ne t’attend pas. Reste humble, toujours prêt à apprendre même de tes erreurs. Il y aura des moments de doute, de découragement. Quand cela arrive, sois encore plus motivé. Et surtout : reste toi-même. C’est ta singularité qui fera ta force.
The Ethnic Relations Commission (ERC) notes with deep concern the recent racially charged statements circulated on social media by Ms. Jennifer Ally who was previously cautioned for similar conduct.
Such comments are divisive, offensive, and contrary to the spirit of respect and harmony that the Commission continues to advocate across all communities in Guyana. The ERC wishes to remind all citizens that freedom of expression carries with it the responsibility to ensure that public statements, particularly those made online, do not inflame ethnic tensions or undermine social cohesion
Article 146 (3) of the Constitution of Guyana states that freedom of expression “.. does not relate to hate speeches or other expressions, in whatever form, capable of exciting hostility or ill-will against any person or class of persons.’
The Commission has since issued a summons to the individual involved, requiring her to appear before the ERC at 11 a.m. on the 23” of October 2025, to respond to these renewed allegations of racially insensitive remarks. Failure to comply with this summons will result in the Commission taking appropriate action as provided for under the relevant laws of Guyana.
The ERC reiterates that racial hostility in any form has no place in Guyanese society. The Commission continues to encourage citizens to use social media responsibly, to speak out against intolerance, and to promote messages that build unity rather than division.
The Ethnic Relations Commission remains committed to fostering a society where mutual respect and understanding form the foundation of national harmony. (ERC Press Release)
See below full statement issued by the Ministry of Foreign Affairs and International Cooperation:
The Ministry of Foreign Affairs and International Cooperation notes with concern the recent comments made by the Venezuelan Ambassador in Georgetown, and questions why the Ambassador is being secretive about the visit of Mr. Nazar Mohamed to the Embassy of the Bolivarian Republic of Venezuela, regarding a visa application.
This latest statement stands in direct contradiction to the Ambassador’s earlier account, which was provided during a meeting with the Honourable Minister of Foreign Affairs and International Cooperation. On that occasion, the Ambassador clearly confirmed that Mr. Mohamed had indeed visited the Venezuelan Embassy and further offered specific details concerning the documentation presented and the purpose of the engagement.
The Ministry also recalls that the Ambassador indicated that the event referenced in the visa application was scheduled for July 2025, while the actual visit to the Embassy occurred in August 2025. This information was shared directly by the Ambassador when summoned for clarification on the matter.
The Ministry therefore views the Ambassador’s subsequent denial as both troubling and inconsistent with his previous statement.
The Ministry reaffirms its expectation that all representatives of foreign missions accredited to Georgetown will conduct their duties with the highest standards of honesty, professionalism and respect for the norms governing diplomatic relations.
The invitation letter related to this matter is hereby attached for reference.
The trial into the March 2020 General and Regional elections continued on Wednesday with the spotlight on a video interview involving former Chief Elections Officer, Keith Lowenfield.
Sergeant Alwyn Jones who is attached to the Criminal Investigations Department (CID) testified about interviews he conducted early in the investigation, which began after criminal complaints were filed.
A September 26, 2020, interview with Lowenfield was shown in court despite objections from his lawyer, Nigel Hughes.
In the recording, Lowenfield declined to respond to questioning.
When asked if he knew why he was being questioned, he admitted he wasn’t sure but wanted to know. Police informed him that he was under investigation for alleged election-related offenses.
During questioning, he was asked about receiving a letter requesting submission of the 2020 elections results report and whether he had reviewed documents from GECOM Chair, Justice (ret’d) Claudette Singh.
Lowenfield consistently replied with “I have no comment,” “I am not going to answer,” and “I have nothing to say.”
When presented with a document showing votes from contesting regions in districts 1 to 10 and asked to confirm a stamp, he again refused to comment.
During the interview, Lowenfield also declined to answer questions regarding letters requesting election result reports, documents from GECOM Chair or the methods used to determine vote counts across the regions.
He further refused to comment on how many reports he submitted to GECOM or whether he was receiving orders from anyone within the Commission, stating repeatedly, “I choose not to answer any question.”
The court also revisited an August 20, 2020, interview involving Lowenfield, Enrique Livan, and Carol Smith-Joseph.
Tensions arose as Hughes objected to the video being shown while Livan’s attorney, Eusi Anderson, was absent. Ultimately, the court admitted three discs containing interviews recorded between August and September 2020.
Aneishaw Mohamed, who is a witness in the trial joined the interview and identified Lowenfield and provided testimony on events during the tabulation process which involved Lowenfield.
Nine individuals are currently before the court, charged with conspiring to manipulate the election results in favour of APNU+AFC in an attempt to deny victory to the PPP/C.
Those charged include former government minister Volda Lawrence, Lowenfield, Mingo, and former Deputy Chief Elections Officer Roxanne Myers, among others.
A search is continuing for four Guyanese fishermen who went missing several days ago while in Surinamese waters.
Minister of Agriculture Zulfikar Mustapha told reporters at an event in Region Five, that Surinamese authorities have deployed patrols and helicopters in search of the missing men.
Mustapha said the government is deeply concerned about the situation.
“We are very concerned because, generally, when our fishermen encounter difficulties like these, we work along with our Coast Guard and other agencies to locate them. However, this incident took place in Surinamese waters,” he explained.
The Minister stated that he is awaiting further information from Guyana’s Ambassador to Suriname regarding the incident.
Reports indicate that several days ago, the four fishermen set out on their regular fishing trip in Surinamese waters. During the trip, water began entering their boat, which eventually sank.
Minister Mustapha expressed hope that the search team will locate the missing fishermen alive and bring them safely back to shore.
Guyana’s fishing sector has undergone massive changes with the implementation of technology to monitor fishing boats, a progression that has made surveillance simpler.
Randy Bumbury, a Fisheries Officer at the Ministry of Agriculture on Wednesday said the ministry has adopted the Vessel Monitoring system to improve the sector.
In 2024, the ministry procured artisanal vessel monitoring devices aimed at enhancing the security of fishing activities within Guyana’s borders. The devices were procured from Latitude Geospatial Consulting Inc. and Pelagic Data Systems.
“As usual, its normally licensed, we currently have 150 vessels that have been equipped with tracking devices, we have another 100 that will be equipped with more tracking devices, there we utilise the Pelagic Data Services for that particular management,” Bumbury said.
Boxes of the tracking devices. (Photo: Ministry of Agriculture)
In accordance with the Fisheries Act, vessels must be licensed annually.
“We have 28 vessels licensed for this particular period and all the vessels have onboard a vessel monitoring device,” Bumbury said.
He said the ministry will further incorporate the electronic single window to improve its systems. Drones are also being used by the ministry for coastal surveillance enforcement.
Additionally, Bumbury said that there has been a low up-take of women and youths in fishing but the sector remains strong with marine production maintaining its ability to meet market demands for fish, despite a ban on exporting catfish to the United States market and low catches due to climate change.
But according to Bumbury, there are still untapped areas for the sector.
“Guyana has extensive small levels of corals that can be found further out, fishers have been bringing up small or medium sized lobsters which demonstrates that there is a different potential out there,” he said.
He said research partners can assist the ministry with data to implement strategic approaches to fishing. He said the country hasn’t met its “full potential of what fisheries in Guyana can be”.
The ‘Golf in Every School’ initiative has expanded to the island of Leguan, with the Region Three Education Department and the Guyana Golf Association (GGA) introducing the sport across all levels.
The expansion saw students and teachers at the nursery, primary, and secondary levels on the island receive instruction this week as part of the drive to broaden golf’s accessibility across Guyana.
Elizabeth Adams Petrie, Head Teacher of Leguan Secondary, championed the move and welcomed the new focus.
“The emphasis on golf in schools is refreshing,” Petrie said.
“We’ll use this as a stepping stone to continue our dominance in the sport,” referencing the school’s recent success as two-time national champions.
Akbar Chintu, Regional Education Officer for Region Three, praised the collaboration and noted the positive impact the sport is having on participation rates.
“The dedication shown by the GGA is something we embrace wholeheartedly. Golf is attracting more learners than ever and will soon be one of the dominant sports in the region,” Chintu commented.
GGA President Aleem Hussain, who has strong family ties to Leguan, confirmed the association’s long-term commitment.
He announced that the Westside Golf Course will be available for all Region Three schools’ physical education sessions.
The development programme will next focus on educators.
The GGA and the Education Department will host a dedicated Teachers’ Day on November 1 for nearly 200 staff, featuring golf instruction and celebration.
The West Indies Women’s senior squad has commenced an intensive eight-week training camp in Antigua, marking the start of their preparation for a demanding 2026 calendar that culminates in the ICC Women’s T20 World Cup in England.
Approximately 20 senior squad members gathered on October 20 for the foundational camp, which is designed to build the capacity required to sustain performance across a schedule featuring six international tours, 15 ODIs, and a Test match.
Head Coach Shane Deitz underlined the singular importance of this training window, emphasizing that fitness and individual development would be non-negotiable elements in the drive to secure a second T20 World Cup title.
“We only get this one opportunity to do this training period, and what we do now will determine our success next year,” Deitz stated. “One area we’ve got to get right is our strength and conditioning and team fitness. We need fast, athletic, and robust cricketers who can play the style of cricket we want, entertain the crowds, put on a massive show, and win lots of games.”
The camp is built around three core pillars: strength and conditioning, individual skill refinement, and fostering strong team culture and leadership. Small-group coaching is implemented to provide tailored attention, while Mental Skills Performance Coach Nadine Sammy oversees efforts to unify team goals.
Head Coach Shane Deitz
The squad’s demanding international calendar for 2026 includes:
February: Hosting Sri Lanka (home series).
March-April: Hosting Australia in an all-format series.
May: Tri-series in Ireland, followed by the ICC Women’s T20 World Cup in England.
July: Bilateral ODI series in Ireland.
September-October: White-ball tour against Zimbabwe.
December: Hosting Pakistan (white-ball series).
The Director of Cricket, Miles Bascombe, noted that the camp represents an “intentional investment” in high performance across the regional setup.
The intensive training in Antigua is scheduled to conclude the week of December 8.
After that, players will return to their territories for the Christmas period before the busy season officially begins. (Modified CWI Press Release)
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The house after the fire (Photo: GFD/ October 22, 2025)
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Boxes of the tracking devices. (Photo: Ministry of Agriculture)
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Head Coach Shane Deitz