Concerns have been raised after performers used explicit language on stage during the opening weekend of the Saint Lucia Jazz and Arts Festival.
One incident took place on opening night in Marchand, and another occurred at Soufriere Jazz during Artiste 1T1’s performance of his hit song Best Friend, which includes the F-word. These moments sparked discussion about the boundaries of public performances at events attracting a wide audience, including families and young people.
Although these incidents appear isolated, they have caught the attention of Tourism Minister Ernest Hilaire and Martin James, CEO of the Eastern Caribbean Collective Organisation for Music Rights.
James pointed to Saint Lucia’s Criminal Code, specifically sections 501, 507, and 508, which set clear limits on conduct in public spaces, including stage performances.
“These provisions explicitly prohibit the use of profane, indecent, or obscene language, as well as any act or expression that may be deemed offensive in a public setting,” he explained. “It is concerning to note that during the opening of Jazz on the 30th, one of the performers openly used profanity as part of his performance delivery.”
He said incidents like these underscore the importance of setting clear boundaries for performers from the outset and that these expectations must be included in their contracts.
At Monday’s pre-Cabinet press briefing, Hilaire acknowledged the challenge of controlling what happens once an artiste is on stage but stressed the need for “consequence management”.
“You have to create a culture, a reputation that artistes know that if they behave in a particular way, there are consequences. So other artistes would not want to do it. Now, some of the artists themselves are probably not even aware of what the boundaries are because they perform globally… they perform in settings where they’re allowed that kind of freedom,” he said.
Hilaire agreed with James, stating that the preferred approach is to address these issues in advance rather than react during the event.
“You can put it in their contracts that if they behave in a particular way, what effect it has, what consequence it would have. And I think that’s as far as you can go. Once somebody’s on stage, it’s very difficult for you to control them thereafter.”
