When we think of ambassadors, we often picture politicians in suits shaking hands and signing agreements. But there’s another type of ambassador out there—one that doesn’t wear a diplomatic badge, yet carries just as much weight in shaping a nation’s identity. These are the cultural ambassadors: the poets, the musicians, the artists, and even the activists. They don’t hold a formal government position, but their work—whether through song, performance, or creative expression—becomes the heartbeat of their country’s story on the global stage.

Prof Dr.Hc KRMB Chevalier MBE Sir Adrian Daisley

Dean of Tourism Culture and International Relations, Lecturer Theology comparative religion & Culture | Surakarta Institue Arts Science Solo Sunanate | Barbados Non-Resident Advisor to Her Royal Highness Prof. Dr. HRH Princess Donna Dayu Kencana Soekarno, PhD,BRAy Putri Donna Dayu Kencana Soekarno, S.A.R. La Principessa , Ratu Agung Manik Kencana , PDKS House of Lords, Diplomatic Chief of Humanitarian Mission for the Shri Pakubuwonox PDKS Humanitarian University ROS PBX Alexandrina Victoria II International University Online, Professor of Skills Development GEPEA University satelite campus Department of Coaching and training development.

In post-colonial nations, especially those that are still redefining their identity after centuries of foreign influence, cultural ambassadors play a critical role in presenting an authentic, dynamic image to the world. They are the unofficial diplomats, weaving their cultural narratives into global conversations, whether through music, fashion, literature, or activism. And as they do, they challenge outdated perceptions, revive forgotten traditions, and amplify the voices of those who were often silenced.

So who exactly can be a cultural ambassador? The truth is, almost anyone who has a platform and a passion for their nation’s culture can take on this role. It’s not about holding a formal title; it’s about being an advocate, an artist, or a community leader who uses their work to represent the heart and soul of a country. They’re the ones telling the world who they are—not just through politics, but through rhythm, poetry, and art.

This article dives into the fascinating world of cultural ambassadors, highlighting how they shape post-colonial identities, amplify national pride, and create spaces for new, empowered conversations on the global stage. Whether through formal recognition or grassroots efforts, these cultural figures are rewriting the rules of diplomacy, proving that true representation often starts not in a government office, but in the stories and expressions of the people.

“A people without the knowledge of their past history, origin, and culture is like a tree without roots.”
— Marcus Garvey

Beyond Politics — Who Really Shapes a Nation’s Soul?

When Barbados officially removed Queen Elizabeth II as head of state in 2021 and declared itself a republic, the world watched as the island took a symbolic step toward sovereignty. But beneath the ceremony and headlines lay a deeper question: Who carries the emotional and cultural identity of a nation forward once the colonial crown is gone?

Enter the cultural ambassadors—poets, musicians, designers, artists, and activists—whose work doesn’t just reflect a country’s image but reimagines it. In the Caribbean and across Latin America, particularly in Barbados and Brazil, these individuals are stepping into the diplomatic vacuum, becoming unofficial envoys of identity in the global imagination.

Barbados: Where the Beat of a Drum Echoes Beyond Parliament

With Rihanna declared a National Hero in the inaugural moments of republican Barbados, it was clear that a new era was unfolding—one where cultural presence is as powerful as political power. Prime Minister Mia Mottley, herself a cultural visionary, stated:
“May you continue to shine like a diamond and bring honor to your nation.”
— Mia Mottley, 2021 Inauguration Ceremony (Vanity Fair, 2021)

Rihanna’s story isn’t just one of celebrity—it’s one of diasporic excellence that carries the Barbadian flag across borders, not through formal diplomacy, but through rhythm, fashion, and unapologetic Caribbean pride.

“But she’s not alone. Cultural titans like Stedson “Red Plastic Bag” Wiltshire, Dr. Anthony ‘Mighty Gabby’ Carter, and Queen of Soca Alison Hinds have also been formally designated as Barbados’ Cultural Ambassadors, recognizing decades of advocacy through music and spoken word.”

These living legends have not only shaped the musical landscape of Barbados, but have also elevated the island’s cultural presence on the global stage. Red Plastic Bag’s “Hold Yuh Man” and “The Cane” tell the stories of everyday Barbadians, blending social commentary with calypso rhythms that resonate across generations. Dr. Gabby’s “The Capital of De World” and “I’m a Bajian” serve as anthems of national pride, reinforcing the island’s place in the heart of the Caribbean. Meanwhile, Alison Hinds, the undisputed “Queen of Soca,” has put Barbadian soca music at the forefront of global festivals, with hits like “Roll It Gal” and “Togetherness.”

Together, these musical icons embody the spirit of cultural diplomacy, using their art to bridge communities, empower youth, and preserve Barbados’ rich cultural heritage for future generations. Their appointment as Cultural Ambassadors is a testament to their immense contributions in not only entertaining but also educating the world about the depth and breadth of Barbadian culture.
According to the National Cultural Foundation, this initiative aims to
“strengthen Barbados’ voice in the international community through its most powerful export—culture.” (NCF Barbados, 2018)

In many ways, these artists speak louder than politicians because they speak from the heart of the people.

Brazil: The Land of Anthropophagy, Not Assimilation

Brazil’s identity story is messier, more chaotic—like its samba beats or Carnival feathers swirling into the night. Yet within the chaos is clarity. Oswald de Andrade’s “Manifesto Antropófago” (Cannibalist Manifesto) of 1928 gave Brazil a powerful cultural philosophy:
“Only cannibalism unites us. Socially. Economically. Philosophically.”
This wasn’t about savagery. It was about cultural resilience—swallowing the colonizer’s symbols and spitting them out transformed, remixed, and definitively Brazilian.

Visual artist Adriana Varejão embodies this ethos. In her installations and tile-based works, she reclaims and repaints the colonial past with haunting beauty. Her pieces often simulate Portuguese azulejos split open to reveal flesh and blood, metaphorically confronting the legacy of slavery and indigenous erasure. (Adriana Varejão – Wikipedia)

More recently, in September 2024, Brazil celebrated the repatriation of a sacred Tupinambá cloak from Denmark. The ceremony wasn’t just a museum affair—it was a spiritual homecoming. President Lula da Silva stated:
“This cloak is not just feathers—it is memory, resistance, and the survival of our soul.”
— (Reuters, Sept 12, 2024)

Side-by-Side: Barbados and Brazil, Islands of Resistance

Though Barbados and Brazil differ vastly in size, language, and history, they share a post-colonial consciousness rooted in struggle, creativity, and the power of expression. In Barbados, the act of naming Rihanna as a National Hero is a strategic assertion of modern myth-making. It says: Our stories, our icons, are enough. In Brazil, the power lies in reinterpretation—in taking the symbols of colonialism and injecting them with Afro-Indigenous meaning.

Both nations remind us that true sovereignty isn’t just constitutional—it’s cultural.

Cultural Diplomacy: The Future of International Relations?

While traditional diplomacy continues to operate through embassies and official titles, the modern world is moved more by image, sound, and narrative. In that light, Rihanna may be more influential than any ambassador. And so is a playwright in São Paulo or a spoken word artist in Bridgetown.

Kamau Brathwaite, the renowned Barbadian poet and scholar, emphasized the power of culture in shaping the identity of Caribbean nations. He once said:
“The artist, in the Caribbean, is the person who brings the people into a deeper sense of themselves, who can see the connections between past and present, and can forge an image of the future.”
— Kamau Brathwaite, The Development of Caribbean Culture, 2001

Barbados’ shift to a republic, and Brazil’s cultural self-actualization through anthropophagy, both speak to this idea. As more countries question colonial legacies and seek decolonial futures, cultural ambassadors are no longer side players. They are central to the story of who we are becoming.

Final Perspective: The Power of Presence

In a time when algorithms dominate diplomacy and media can make or break a nation’s image, cultural ambassadors are not symbolic—they are strategic. They are the heartbeat behind the handshake, the soul behind the strategy.

Barbados and Brazil are showing us how to build a nation not just with constitutions, but with culture, courage, and creativity.
Let us listen to their songs, study their canvases, and honor their presence—not just as artists, but as architects of identity.

References

1. Andrade, Oswald de. (1928). Manifesto Antropófago (Cannibalist Manifesto). Retrieved from: https://www.artpool.hu/Tandor/Andrade.html
2. Barbadian National Cultural Foundation. (2018). Designation of Barbados Cultural Ambassadors. Retrieved from: Designation of Barbados’ Cultural Ambassadors – National Cultural Foundation, Barbados
3. BBC News. (2021, November 30). Barbados becomes a republic and parts ways with the Queen. Retrieved from: Barbados becomes a republic and parts ways with the Queen
4. Silva, Maria Paula Magalhães. (2021). Facetas da Arte Contemporânea Brasileira: Interpretações do “Pós-colonial” e do “Decolonial”. Quatro Casos de Estudo: Adriana Varejão, Cildo Meireles, Flávio Cerqueira e Rosana Paulino. Universidade do Porto.
5. Mottley, Mia Amor. (2021). Speech at Barbados Republic Inauguration Ceremony. Retrieved via Vanity Fair: Rihanna Is Named a National Hero of Barbados | Vanity Fair
6. Nettleford, Rex. (2003). Caribbean Cultural Identity: The Case of Jamaica. Ian Randle Publishers.
7. Reuters. (2024, September 12). Brazil celebrates return of sacred Indigenous cloak from Denmark. Retrieved from: Brazil officially welcomes return of sacred Indigenous cloak from Denmark
8. UNESCO. (2019). Culture and Local Development: Maximizing the Impact.
9. University of the West Indies Press. (2016). Decolonizing the Caribbean: Cultural Hybridity and the Transformation of National Identity (Essays by various Caribbean scholars).
10. Zuberi, Tukufu & Bonilla-Silva, Eduardo (Eds.). (2008). White Logic, White Methods: Racism and Methodology. Rowman & Littlefield.