Carel Pedre is Haiti’s most influential media personality and digital entrepreneur, with over 25 years of experience shaping the nation’s music industry and cultural conversation. As the host of Chokarella on Radio One and founder of the multimedia Chokarella platform, Pedre reaches over 912,000 Instagram followers and 701,000 Twitter followers globally—a vast audience of diaspora Haitians, music fans, and cultural advocates.
This profile examines how a self-taught radio host from Port-de-Paix became Haiti’s cultural connector and why his show remains the gold standard for artist discovery and independent editorial voice in Haiti.
Who Is Carel Pedre?
Born and raised in Port-de-Paix, Haiti, Carel Pedre began his radio career at age 17—meaning he has spent more than four decades in broadcasting. He did not attend formal broadcasting school; instead, his expertise emerged from hands-on experience and continuous self-education through industry observation, reading, and research.
In 2004, he attended a broadcasting conference in Washington, D.C., further expanding his technical and professional knowledge.
He has held multiple roles across Haiti’s media landscape: program director and host at Radio Planet Kreyol (2001–2004), communication officer for the Pan American Health Organization/World Health Organization’s Haiti office (2004–2005), broadcasting manager at Radio One (2005–present), editor-in-chief of Spotlight Magazine (2007–2008), and host of Digicel Stars, Haiti’s premier talent competition, since 2007.
Today, Pedre serves as CEO of Chokarella and oversees Plezikanaval, a dedicated streaming platform for Haiti’s carnival that attracts over 700,000 visitors per season.
His career reflects the journey of a digital pioneer in Haiti—someone who recognized early that radio alone could not sustain his vision and invested in apps, podcasts, social media, and streaming infrastructure to connect Haitians across borders and time zones.
How Chokarella Became Haiti’s #1 Morning Show
Chokarella began as a practical solution to a scheduling constraint. While Pedre worked full-time as a communication officer for PAHO/WHO from 8 a.m. to 4 p.m., the only available time slot for a radio show was early morning.
He launched the program from 6–8 a.m., intentionally positioning it as an alternative to news-heavy morning programming. The name itself reflects creative vernacular branding: “Chokarella” derives from “Show Carel la”—”Carel’s show” in Haitian Creole—a catchy, distinctly local identity that resonated with listeners.
What differentiated Chokarella from competitors was Pedre’s refusal to adhere to rigid formats. Where other stations relied on formal scripting, Chokarella embraced spontaneity, unpredictability, and genuine audience interaction.
The playlist roams across genres—konpa (Haiti’s pop music form), jazz, R&B, electronic dance music, 1990s hip-hop, and contemporary U.S. pop—rather than defaulting to a single category.
More importantly, Pedre used technology to overcome Haiti’s geographic and economic barriers: he developed custom mobile applications for smartphones, maintained active social media accounts, and streamed live online years before most Haitian radio stations recognized the diaspora’s desire to stay connected.
This technological edge, combined with strategic social media promotion and word-of-mouth growth within diaspora communities, transformed Chokarella into a household name for Haitians in Montreal, Toronto, New York, Miami, Australia, and beyond. The show’s morning slot captured commuters, students, and remote workers seeking cultural connection and curated music rather than crisis-driven news cycles.
Why Diaspora Haitians Choose Chokarella
Chokarella’s appeal transcends music. For diaspora listeners, the show functions as a cultural umbilical cord—a daily reminder of home for those separated by geography, politics, or economics.
Sarah Desamours, a Canadian-born blogger who discovered Pedre on Twitter, describes the show as a “cultural connector.” She notes: “Carel is the only one I know in the Haitian community who is able to connect Haitians all around the world with a radio show and, most importantly, through social media.
That is beyond amazing and, as a Haitian born in Canada, it really helped me discover more about my country and my culture—events, artists.”
For Espy César-Saavedra, listening from Australia, Chokarella serves a dual function: personal enjoyment and cultural ambassador work. She credits Pedre’s professionalism, patriotism, and genuine passion for his work, describing him as “a humanitarian, educator, and accomplished artist.” She uses the show as an educational tool, introducing non-Haitian friends to Haitian music and culture.
Ti Kenny Dambreville, a New York-based web show host, credits Pedre with expanding his musical palate, particularly by introducing electronic dance music—a genre he had not previously explored. This discovery experience repeats across listener testimonies: Chokarella doesn’t just reinforce existing preferences; it actively educates and diversifies its audience’s musical worldview.
Desamours specifically highlights how the show introduced her to vintage konpa acts like Tabou Combo and emerging local artists such as BelO and Tifane—musicians with limited reach in diaspora markets without Pedre’s platform.
Pedre’s Editorial Independence: The Cost of Outspokenness
Chokarella’s credibility rests on Pedre’s willingness to voice criticism without fear of commercial backlash. He has publicly denounced bands, criticized live concert performances, spoken against tobacco marketing to youth, and challenged artists who release songs with demeaning or explicit lyrics. When sponsors and advertisers have disagreed with his editorial positions, he has accepted their withdrawal rather than compromise. Gilles Freslet, an observer of Haiti’s media landscape, describes Pedre as “brilliant” and notes that his willingness to praise and criticize based on merit—rather than relationships or payment—creates both loyalty and friction: “He criticizes when there’s a need to do so, and he gives props when that’s necessary, which of course makes some glad and makes some ticked.”
This editorial stance has occasionally invited criticism. Some observers alleged that Pedre opportunistically leveraged the 2010 earthquake to boost his profile. However, this narrative requires context.
Pedre was already a seasoned radio professional before the earthquake struck; his 2010 visibility amplified an existing career rather than created one. Moreover, his earthquake-era social media activity was documented as a humanitarian response—using Twitter and Facebook to help families reconnect and alert international aid agencies to on-ground conditions—not a publicity campaign. The scale of his current following (912K Instagram, 701K Twitter) far exceeds what earthquake notoriety alone could sustain; audiences return daily for content quality and cultural relevance.
Chokarella’s Role in Haiti’s Music Industry: A Guerrilla Distribution System
In Haiti, most radio stations operate on a pay-for-play model, requiring artists to pay for airtime or secure backing from labels and sponsors. Emerging artists with limited financial resources often struggle to gain meaningful exposure, delaying career momentum by months or years.
Chokarella inverts this dynamic: Pedre regularly features fledgling and established artists based on merit, offering airtime and on-air interview opportunities that would otherwise be inaccessible to independent musicians.
Mario Accius, a New York-based listener, captures this impact: “I feel like it does a wonderful thing for our Haitian music and musicians due to the fact that the show reaches worldwide.
I’m pretty sure there are countries or people who had never heard of Haitian music before, but because of the reach of the show to other nations, they have a sense and notion of what Haitian music is all about.”
The cumulative effect resembles a form of grassroots distribution for artists who lack international marketing infrastructure. Chokarella effectively amplifies Haitian music to a global diaspora audience in real time—a function that, in the pre-streaming era, would have required expensive distribution deals or international radio networks.
2010 Earthquake and International Recognition
On January 12, 2010, a 7.0 earthquake devastated Haiti. Communication systems collapsed, and many journalists perished. With Radio One’s equipment partially salvageable and his technical skills intact, Pedre rebuilt the station’s broadcasting capacity and worked tirelessly to relay accurate information about shelters, aid availability, and survivor updates. He opened the microphone to victims, volunteers, government officials, and aid workers—creating what CNN later described as “a virtual clearing house” for urgent information.
French media dubbed him “The Eye of Haiti” and “The Host with the Big Heart.” These accolades acknowledged both his on-the-ground reporting and his humanitarian instinct. The work earned him the 2010 Humanitarian Shorty Award and contributed to widespread recognition of his role in post-disaster response.
In 2015, he delivered a TED talk on Haiti’s recovery, and in subsequent years, he spoke at Harvard University’s Kennedy School of Government—invitations reflecting his status as a respected voice on Haiti’s media ecosystem and cultural resilience.
What Makes Chokarella Different
- Editorial independence at cost: Pedre prioritizes honest criticism and cultural advocacy over sponsorships, creating a trustworthy voice in Haiti’s often transactional media landscape.
- Genre-agnostic curation: Rather than targeting one demographic, Chokarella educates listeners across musical boundaries—exposing diaspora audiences to vintage konpa, emerging artists, and global genres in a single broadcast.
- Technological infrastructure: Chokarella maintains apps, podcasts, streaming, and social media—an integrated digital strategy that most Haiti-based radio shows lack, enabling seamless access across borders and devices.
- Meritocratic artist platform: The show operates as a pay-for-play alternative, allowing underrepresented and emerging artists to reach global audiences based on talent rather than budget.
Frequently Asked Questions
What time does Chokarella air?
Chokarella originally aired from 6–8 a.m. on Radio One. Current broadcast times should be verified on the official Chokarella website or social media, as scheduling may have evolved. The show is also available on-demand via podcast and streaming platforms.
How can I listen to Chokarella outside Haiti?
Chokarella streams live online, offers a mobile app for smartphones, publishes podcasts, and maintains active social media accounts (Instagram: @carelpedre, Twitter: @carelpedre). These channels provide real-time and on-demand access for diaspora listeners worldwide.
Is Chokarella free to listen?
Yes. Live streaming and social media content are free. Some premium content or archived episodes may have separate access requirements; check the official platform for details.
How do artists get featured on Chokarella?
Chokarella prioritizes music quality and cultural relevance rather than payment. Artists interested in airtime should research current submission guidelines through Radio One or the Chokarella official channels. Unlike pay-for-play stations, Chokarella evaluates music on merit.
What is Carel Pedre’s background in broadcasting?
Pedre began his radio career at age 17 without formal broadcasting school. He worked his way up through on-air experience, self-directed study, and industry observation. His formal education includes a 2004 broadcasting conference in Washington, D.C. He has held roles as program director, communication officer, and broadcast manager across multiple Haitian organizations.
Has Carel Pedre won any awards?
Yes. Pedre has received the 2010 Humanitarian Shorty Award, the Change Maker Award (United Way of the Mid-South, 2010), TV Host of the Year (Ticket Magazine, 2014), and Media Personality of the Year (Ticket Magazine, 2016). He has also delivered a TED talk and spoken at Harvard University’s Kennedy School of Government.
Editorial Note
This profile draws on public-source information including verified social media follower counts, LinkedIn professional history, published interviews, and third-party media coverage from FIU’s Caplin News, SOIL Haiti, the Miami Book Fair, and documented public presentations. Testimonials are sourced from the original 2012 Kreyolicious interview, and updated biographical facts reflect current public-facing information from Carel Pedre’s official website and recent news coverage.
Readers are welcome to contact Kreyolicious with corrections or additional verified information about Pedre’s work or Chokarella’s current operations.
Last Updated on January 15, 2026 by kreyolicious
