Why Indo-Caribbean Canadian Voices & Narratives Need Better Representation In Media

Indo-Caribbean Canadians have long been underrepresented in media, their stories overshadowed despite their significant contributions to the cultural fabric of North America. To address this gap, Canadian Screen Award-winning writer and actor Richard Young is spearheading an initiative to bring Indo-Caribbean (IC) stories to light and build a robust creative community.

Indo-Caribbean Heritage: A Legacy of Migration and Diversity

Indo-Caribbean people are individuals in/from the Caribbean who trace their ancestry to the Indian subcontinent. Most are descendants of indentured laborers brought from India by British, Dutch, and French colonial powers between the mid-19th and early 20th centuries to work on plantations. A smaller number are descendants of later migrants, including professionals and entrepreneurs. Their roots are primarily in North and South India, with major communities in countries like Trinidad and Tobago, Guyana, Jamaica, and Suriname.

In North America, Indo-Caribbeans have established significant immigrant populations, particularly in urban areas such as New York City, Miami, Toronto, and Montreal. These communities have contributed to the cultural diversity of their regions, maintaining traditions such as Indian festivals, food, music, and religious practices while integrating aspects of Caribbean culture. New York City, for instance, is home to vibrant Indo-Caribbean neighborhoods in Queens and Brooklyn, where cultural events like Phagwah (Holi) and Diwali are celebrated on a large scale. This blend of Indian and Caribbean heritage adds a unique dimension to their identity and diaspora experience.

The Indo-Caribbean Representation Gap

Despite a substantial Indo-Caribbean population in Canada, their stories remain virtually absent from film and television. This lack of representation creates a sense of invisibility and disconnect.

“Indo-Caribbean characters and stories simply don’t exist on our screens,” Young explains. “Even within the South Asian diaspora, Indo-Caribbean voices are often overlooked, leaving us feeling adrift and undervalued.”

Young’s initiative seeks to remedy this by focusing on uniting Indo-Caribbean (IC) Canadian artists, connecting them with the global IC community, and creating opportunities for collaboration and visibility.

Key Goals of the Initiative

1. Building a Creative Community Young has cultivated a thriving network of Indo-Caribbean Canadian filmmakers, writers, and actors through a dedicated Facebook Messenger group. This platform enables members to share resources, celebrate successes, and provide mutual support. “The group is for anyone who can trace part of their heritage to Indian indentured laborers in the Caribbean,” he says. “It’s a space where we can connect, collaborate, and grow together.”
2. Fostering Global Partnerships Recognizing the shared heritage between Indo-Caribbean communities worldwide, Young is working to connect Canadian IC filmmakers with their Caribbean counterparts. These collaborations aim to foster co-productions and synergistic opportunities that amplify Indo-Caribbean narratives on a global scale.
3. Raising Awareness of IC Stories A significant aspect of the initiative is to build a repository of IC films from around the world. Young plans to introduce these works to South Asian, Asian, and diverse film festivals across Canada, ensuring broader exposure for IC narratives.
4. Inspiring the Next Generation The initiative also focuses on connecting IC cultural associations with the Canadian IC filmmaking community. By showcasing the vibrant possibilities within the arts, Young hopes to inspire younger IC Canadians to embrace their heritage and consider careers in storytelling.

A Vision for Inclusive Storytelling

At the heart of this initiative is the belief that authentic stories enrich the cultural landscape. As a screenwriter, Young is developing projects that spotlight Indo-Caribbean experiences—stories of resilience, identity, and connection. By raising the profile of IC filmmakers and narratives, he aims to bridge the gap between Indo-Caribbeans and the broader South Asian diaspora.

“Our goal is to ensure that IC stories are no longer sidelined but celebrated as an integral part of our shared heritage,” Young emphasizes.

A Call to Action

Young’s initiative invites Canadian media organizations, film festivals, and cultural associations to join the effort. Whether through collaborations, showcasing IC films, or supporting IC creatives, these partnerships can help bring a wealth of untold stories to life.

“This is about building a legacy,” Young says. “By working together, we can ensure that Indo-Caribbean Canadians are seen, heard, and celebrated.”

In this article, we are shining the spotlight on a few Indo-Carribean Canadian artists and chat with them about their experiences (in alphabetical order):

Andrea Drepaul: ACTOR – Indo-Guyanese in Vancouver 
Recurring roles on the TV series Nancy Drew (CW) and Supernatural (CW). Additional TV credits include Supergirl (CW), Wild Cards (CBC), Private Eyes (Global), Damien (A&E) and Creepshow (Shudder).

Darryl Hinds: ACTOR – Indo-Jamaican in Toronto
Canadian Screen Award-nominated actor who was a lead in TV series Overlord and The Underwoods (CBC/Hulu/ Nickelodeon). Additional credits include the movies ‘Twas the Date Before Christmas and Operation Nutcracker.

Richard Young: ACTOR – Indo-Carribean in Toronto
Richard Young is a Canadian Screen Award-winning writer and actor of Indo-Caribbean heritage. His writing credits include Overlord and the Underwoods (CBC/Nickelodeon), Dino Ranch (CBC/Disney+), and Maternal (CBC Reflections). A dedicated advocate for diversity, Young is at the forefront of efforts to increase representation in Canadian media. Connect with him on Instagram (@RichardYoungRY) or LinkedIn.

Shaun Omaid: ACTOR. Indo-Guyanese-Trinidadian in Vancouver
His numerous TV series credits include Wild Cards (CBC), Death and Other Details (Hulu), Tracker (CBS), The Irrational (NBC), The Flash (CW), Turner & Hooch (Disney+), Riverdale (CW) and Motherland: Fort Salem (Freeform).

How unique do you find Indo-Caribbean (IC) culture? What do you love most about it, and what challenges do you face within it?

Andrea Drepaul: IC culture is very special as it’s a melting pot of Indian and Caribbean culture. The vibrancy of the culture combined with the personalities and the eclectic food.

Darryl Hinds: IC culture is a unique culture that bridges both western and eastern minority culture and gives us a unique understanding of both. The struggle is that because it’s not broadly recognized we often get overlooked in media.

Richard Young: It’s incredibly unique! A mix of Indian, Hindu, Muslim, blended with African, Indigenous, and more. Like a friend once told me, the Caribbean was a melting pot before melting pots were cool. You’ve got Indian poojas and saris alongside reggae and soca. Our people are hardworking, tough, and maybe a little stubborn—but in a way that keeps us pushing forward.

The struggle? Feeling like we’re always explaining ourselves. IC identity is so layered, but outside of our own community, people either don’t know we exist or think we’re just a footnote in the South Asian diaspora.

Shaun Omaid: I think Indo-Caribbean culture is quite unique; we still maintain ties to our age-old cultural traditions and connection to our motherland, however our culture is also undoubtedly Caribbean. I see the differences (and similarities) between myself and my family and other families of South Asian descent; even those from other background of the diaspora (e.g. Fiji).

I can enjoy the latest Hrithik Roshan movie, or the latest Kes jam – I feel like I am equally a part of two worlds, and I love that. Whether anyone else thinks so too is another matter.

Are you an Indo-Caribbean actor who seldom has the opportunity to portray Indo-Caribbean characters—how does that experience impact you?

Andrea: I have never once played an IC character on screen in my 15 years as a professional actor. It’s oppressive and I think it’s a disservice to the world to not know IC culture.

Darryl: Like there are very few avenues where I’m/we’re truly seen as a group distinct from Desi Indian culture, as a result any cultural auditions that come my way feel like a gamble.

Rich: In 15 years as an actor, I’ve only played two IC characters: a small part in an independent feature created by Caribbean-Canadians, and another part in a one-week workshop developing a South Asian-Canadian theatre piece.

It’s absolutely bonkers that IC’s are a substantial part of North America and yet I can’t think of even five IC characters on our screens. Where is my extended family on screen? What do I tell my nephews who are born and raised here – that this continent has no room for your stories?

Shaun: It makes me feel erased. And because of my ethnically ambiguous look, I often find myself stepping into the shoes of characters who do not share my background. It’s fun, but I do feel like my identity, my culture, doesn’t matter enough.

A couple years ago, I took part in a workshop of a new play entitled “Chump”, written by the talented Sue Goberdhan. The play centered around an Indo-Caribbean family; I’ve never felt so comfortable exploring a character. My connection with the role, and play, was deep. It was a powerful experience that I had the privilege of sharing with others.

How does your IC identity influence your art?

Darryl: Most of the characters I write have a sprinkling of my Caribbean background (adds a flavour that make them distinct and 3 dimensional) and because I look ‘Indian’ my hope is that expands the audience’s understanding of what it means to be Caribbean and ‘Indian’ as well.

Shaun: Truly, it informs my understanding of diversity and intersectionality – how complex identities and struggles with those identities can affect us. That is the main thing I bring to any work I do, whether as an actor, or writer – that nuanced understanding of identity and one’s place in the world.

Any struggles you’ve had in the business related to your IC identity?

Darryl: Since Indo-Caribbean aren’t really seen as a distinct group separate from south East Asian Indians, when auditions come for a Caribbean character it’s likely they are thinking of/ looking for a ‘black’ actor, and if an audition comes for an Indian character they are looking for south East Asian cultural understanding that feels false to my understanding. As a result I often feel like I’m in a cultural ‘in between’ place that lessens my chances of at getting the job.

Rich: Hollywood and Canada’s film industry loves to categorize people. And if the people in charge don’t know ICs exist, they don’t know what to do with me. So I can get overlooked as they go with another South Asian artist whose look, experience and background fits their idea of what “brown” should be.

And that sucks for all South Asians; it weirdly pits us against each other when we should be standing together. Now that I’m pitching IC stories, I know I have to educate gatekeepers while also telling a compelling story. Some of them find it exciting—new worlds, new experiences—but others just don’t “get” it and dismiss it. And that’s the challenge. You have to convince people your story is worth telling before they even listen, even though audiences are hungering for it.

Shaun: A lot of the struggles I’ve had in the business revolves around the industry not understanding what it truly means to be Indo-Caribbean. I’ve been in audition rooms where I’ve been asked what my ethnicity was. And anytime I told them that I was Indo-Caribbean or West Indian, I’d only receive blank stares.

I’ve always had to qualify it with being South Asian and only then would I get a nod and smile – they know how to place me now! Many also didn’t even know that there were Indians in the Caribbean to begin with. I am not surprised as we are a small community.

There just needs to be more education out there about our heritage. We as Indo-Caribbean artists need to educate our peers through our stories and unique cultural voice,

Have you always celebrated your Indo-Caribbean heritage, or is this a more recent journey of discovery? If recent, was there a specific event or experience that sparked it?

Andrea: As an artist I have been directing more energy within my work towards focusing on the connectedness of my culture as the thruline to bridge our differences in culture. Being a storyteller who values sharing from the balanced perspective of both sides of the pendulum, what one considers a truth does not make someone else’s truth untrue.

When in fact our culture and stories can co-exist at the same time as any other culture in this society, then we will move beyond the divisiveness of Hollywood’s casting and the perpetuation of stereotypical casting. We are seeing now through studies at Yale University that audiences at box office movies are not as discriminatory about race as was once thought.

An entire system was created to keep us at the bottom. We are now seeing the entire veil drop as IC creators make bold moves to create and tell universal stories with a South Asian heartbeat.

Darryl: I’ve always embraced my Caribbean culture, it’s a big part of what makes me me and how I interact with the world. Though seeing myself as “Indian” is a more recent thing (I’m mix race black and Indian), half of my family is black and being Jamaican most of my interactions with other Jamaicans (a part from the Jamaican Indian half of my family) was with black people (also most of the world envisions Jamaican Caribbean culture as a “black” culture). So because my cultural understanding came from that lense with less “desi” culture I always saw myself as “black”.

Since working professionally and having to play more “Indian” roles I began embracing that side of me more.

Rich: I spent a long time feeling like I wasn’t “IC enough.” Growing up in Canada’s suburbs, I was often the only brown kid around. But when I got older and lived in multicultural cities, I was told I was “whitewashed.” I already felt out of touch with South Asian culture, and then stepping into the arts, I saw little to no IC representation. So for a while, I didn’t think embracing my heritage was even useful to my career. In fact, it could be detrimental since it was so foreign to the “mainstream” screen industry.

But things shifted over the last few years—especially during the industry slowdowns with the WGC and SAG strikes. Work dried up, and I had a choice: quit being an artist or double down on my craft. I realized that to stand out, I needed to bring more of myself into my work. That meant reconnecting with my background, leaning into my heritage, and embracing the uniqueness I had once tried to downplay.

It’s been both exciting and terrifying; learning often is. Although I built a career playing by the industry’s rules, now I’m rewriting them for myself. Because authenticity is key.

Shaun: I’ve always been proud of my Indo-Caribbean heritage, and have always embraced my unique cultural identity. I’ve never missed an opportunity to introduce my friends and colleagues to Soca music, or extoll the deliciousness of Guyanese masala, or Trini doubles.

Do you feel like you fit into the broader South Asian community?

Darryl: Not really, but not necessarily because the South Asian community doesn’t except me, they are very welcoming, I just don’t feel like I fit because of how society sees me and what kind of cultural understanding is generally expected for me to have as a result of how I look.

Rich: Yes and no. My best artist friends are from the broader South Asian arts community; we work on projects together, go to each others’ weddings, commiserate about the industry together. One-on-one, my South Asian brothers are my brothers.

But on a larger scale? I do feel disconnected sometimes. Even now, there’s this tiny voice in the back of my head wondering if being IC makes me a “lesser” South Asian. Most South Asian spaces have been welcoming, but there have been times when a South Asian derisively dismissed me because of my heritage—and those moments were scarring. Internalized colonialism and caste systems suck, eh? Fortunately both IC and non-IC South Asians in the country are working to unite this diaspora and see how connected we all are.

Shaun: Despite my personal feelings and connection to the South Asian community, I do not feel like I fit into the broader South Asian community. Throughout my life I’ve constantly been told that I wasn’t a real Indian, in a way that was meant as an expulsion or erasure of my connection with being also South Asian. Also being looked down upon for not knowing how to speak Hindi or any other South Asian language.

I often find myself feeling the need to “prove” that I am South Asian enough. That I do in fact belong in that space. It gets exhausting. I was doing a project featuring a predominantly South Asian cast. I always felt like the other actors were confused as to what I was doing there. I didn’t feel like I belonged. One of the guys eventually asked me, “So…are you brown?” And then of course I felt I had to justify just being there.

What do you think about uniting with the IC filmmaking community and telling more IC stories?

Darryl: More diverse storytelling is nothing but good for not only expanding others’ understanding of the variety of culture with people that look Indian, but also just making more vibrant and interesting art in general.

Rich: I love it. But I also know it’s a process. There are so many talented IC Canadian artists out there, but because we never saw ourselves onscreen, and because a lot of IC Canadians aren’t connected to the film industry, we haven’t naturally come together in the way other communities have.

IC artists have always been great at promoting diversity and working with other groups, but realizing we actually have a critical mass of talent in North America AND that our stories matter? Those are new ideas for a lot of us.

But now that we’re connecting, sharing resources, and building something together, it feels like we’re on the verge of something big. I can’t wait to combine my writing and acting expertise with others to tell unique, entertaining and kickass IC stories in North America.

Shaun: I think it’s a great idea. One of the best ways to educate people about our community and cultural history is by telling our stories, creating our own unique works of art. Stories have been a powerful medium of connection in human history, and I have no doubt that there are universals in our collective Indo-Caribbean story that many people will be able to connect and identify with – we just need to give them that opportunity by sharing our stories.

It’s also been refreshing connecting fellow artists that share my heritage. This past Christmas Day, we [IC Canadian screen artists] were all sharing what we were up to. It was great seeing all the pepperpot and goat curry pictures flood the chat. It’s finally a space where I feel like I belong.

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Anyone looking for more information about the initiative and ways to get involved can reach out to Richard Young directly:
IG: @RichardYoungRY
IMDb: http://imdb.me/richardyoung
LinkedIN: https://www.linkedin.com/in/richardyoungry/

Images provided by Richard Young.