A home away from a homeland

A home away from a homeland

When the Haitian Multi-Service Center opened in the Dorchester neighborhood of Boston in 1978, it quickly became a valued resource. Haitian immigrants likened it to Ellis Island, Plymouth Rock, and Haiti’s own Citadel, a prominent fort. The center, originally located in an old Victorian convent house in St. Leo Parish, provided health care, adult education, counseling, immigration and employment services, and more.

Such services require substantial funding. Before long, Boston’s Cardinal Bernard Francis Law merged the Haitian Multi-Service Center into the Greater Boston Catholic Charities network, whose deeper pockets kept the center intact. Law required that Catholic welfare promote the church’s doctrine. Catholic HIV/AIDS prevention programs started emphasizing only abstinence, not contraception. Meanwhile, the center also received state and federal funding that required grantees to promote medical “best practices” that contrasted with church doctrines.

In short, even while the center served as a community beacon, there were tensions around its funding and function — which in turn reflect bigger tensions about our civic fabric.

“These conflicts are about what the role of government is and where the line is, if there is a line, between public and private, and who ultimately is responsible for the health and well-being of individuals, families, and larger populations,” says MIT scholar Erica Caple James, who has long studied nongovernmental programs.

Now James has written a new book on the subject, “Life at the Center: Haitians and Corporate Catholicism in Boston,” published this spring by the University of California Press and offering a meticulous study of the Haitian Multi-Service Center that illuminates several issues at once.

In it, James, the Professor of Medical Anthropology and Urban Studies in MIT’s Department of Urban Studies and Planning, carefully examines the relationship between the Haitian community, the Catholic Church, and the state, analyzing how the church’s “pastoral power” is exercised and to whose benefit. The book also chronicles the work of the center’s staff, revealing how everyday actions are connected to big-picture matters of power and values. And the book explores larger questions about community, belonging, and finding meaning in work and life — things not unique to Boston’s Haitian Americans but made visible in this study.

Who makes the rules?

Trained as a psychiatric anthropologist, James has studied Haiti since the 1990s; her 2010 book “Democratic Insecurities” examined post-trauma aid programs in Haiti. James was asked to join the Haitian Multi-Service Center’s board in 2005, and served until 2010. She developed the new book as a study of a community in which she was participating.

Over several decades, Boston’s Haitian American population has become one of the city’s most significant immigrant communities. Haitians fleeing violence and insecurity often gained a foothold in the city, especially in the Dorchester and Mattapan neighborhoods as well as some suburbs. The Haitian Multi-Service Center became integral to the lives of many people trying to gain stability and prosperity. And, from residential clergy to those in need of emergency shelter, people were always at the site.

As James writes, the center “literally was a home for many stakeholders, and for others, a home away from a homeland left behind.”

Church support for the center worked partly because many Haitians felt aligned with the church, attending services and Catholic schools; in turn the church provided uniquely substantial support for the Haitian American community.

That also meant some high-profile issues were resolved according to church doctrine. For example, the center’s education efforts about HIV/AIDS transmission did not include contraception, due to the church’s emphasis on abstinence — which many workers considered less effective. Some staff members would even step outside the center to distribute condoms to community members, thus not violating policy.

“We started as a grassroots organization. … Now we have a church making decisions for the community,” said the former director of the center’s HIV/AIDS prevention programming. By 1996, the center’s adult literacy staff resigned en masse over policy differences, with some workers asserting in a 1996 memo that the church “has assumed a proprietary role over our work in the Haitian community.”

Coalition, not consensus

Another policy tension surrounding Catholic charities emerged after same-sex marriage became legal in Massachusetts in 2004. In 2005, a reporter revealed that over the previous 18 years the church had facilitated 13 adoptions of difficult-to-place children with gay couples in the state. After this practice became publicized, the church announced in 2006 that its century of adoption work would end, so as to not violate either church or state laws.

Ultimately, James says, “There are structural dimensions that were baked in, which almost inevitably produced tensions at the institutional or organizational level.”

And yet, as James chronicles attentively, there was hardly consensus about the church’s role in the center. The center’s Haitian American community members were a coalition, not a bloc; some welcomed the church’s presence at the center for spiritual or practical reasons, or both.

“Many Haitians felt there was value from [the center] being independent, but there are others who felt it would be difficult to maintain otherwise,” James says.

Some of the community members even expressed lingering respect for Boston’s Cardinal Law, a central figure of the Catholic Church abuse scandal that emerged in 2002; Law had personally championed the charitable work the church had been performing for Haitians in Boston. In this light, another question emerging from the book, James says, is, “What encourages people to remain loyal to an imperfect institution?”

Keepers of the flame

Some of the people most loyal to the Haitian Multi-Service Center were its staff, whose work James carefully details. Some staff had themselves previously benefitted from the center’s services. The institution’s loyal workers, James writes, served as “keepers of the flame,” understanding its history, building community connections, and extending their own identities through good works for others.

For these kinds of institutions, James notes, “They seem most successful when there is transparency, solidarity, a strong sense of purpose. … It [shows] why we do our jobs and what we do to find meaning.”

“Life at the Center” has generated positive feedback from other scholars. As Linda Barnes, a professor at the Boston University School of Medicine, has stated, “One could read ‘Life at the Center’ multiple times and, with each reading, encounter new dimensions. Erica Caple James’s work is exceptional.”

What of the Haitian Multi-Service Center today? In 2006, it was moved and is now housed in Catholic Charities’ Yawkey Center, along with other entities. Some of the workers and community members, James notes in the book, consider the center to have died over the years, compared to its stand-alone self. Others simply consider it transformed. Many have strong feelings, one way or another, about the place that helped orient them as they forged new lives.

As James writes, “It has been difficult to reconcile the intense emotions shared by many of the Center’s stakeholders — confusion, anger, disbelief, and frustration, still expressed with intensity even decades later — alongside reminiscences of love, joy, laughter, and care in rendering service to Haitians and others in need.”

As “Life at the Center” makes clear, that intensity stems from the shared mission many people had, of finding their way in a new and unfamiliar country, in the company of others. And as James writes, in concluding the book, “fulfillment of a mission is never solely about single acts of individuals, but rather the communal striving toward aiding, educating, empowering, and instilling hope in others.”

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“UnrulyArt” creates joy and engagement, regardless of ability

An unmistakable takeaway from sessions of “UnrulyArt” is that all those “-n’ts” — can’t, needn’t, shouldn’t, won’t — which can lead people to exclude children with disabilities or cognitive, social, and behavioral impairments from creative activities, aren’t really rules. They are merely assumptions and stigmas.

When a session ends and the paint that was once flying is now just drying, the rewards that emerge are more than the individual works the children and their volunteer helpers created. There is also the joy and the intellectual engagement that maybe was experienced differently but nevertheless could be shared equally between the children and the volunteers.

When MIT professor Pawan Sinha first launched UnrulyArt in 2012, his motivation was to share the joy and fulfillment he personally found in art with children in India who had just gained their sense of sight through a program he founded called Project Prakash.

“I felt that this is an activity that may also be fun for children who have not had an opportunity to engage in art,” says Sinha, professor of vision and computational neuroscience in the Department of Brain and Cognitive Sciences (BCS). “Children with disabilities are especially deprived in this context. Societal attitudes toward art can keep it away from children who suffer from different kinds of cognitive, sensory, or motoric challenges.”

Margaret Kjelgaard, an assistant professor at Bridgewater State University and Sinha’s longtime colleague in autism research and in convening UnrulyArt sessions, says that the point of the art is the experience of creation, not demonstrations of skill.

“It’s not about fine art and being precise,” says Kjelgaard, whose autistic son had a blast participating in his own UnrulyArt session a decade ago and still enjoys art. “It’s about just creating beautiful things without constraint.”

UnrulyArt’s ability to edify both children with developmental disabilities and the scientists who study their conditions interleaves closely with the mission of the Simons Center for the Social Brain (SCSB), says Director Mriganka Sur. That’s why SCSB sponsored and helped to staff four sessions of UnrulyArt recently in Belmont and Burlington, Massachusetts.

“As an academic research center, SCSB activities focus mainly on science and scientists,” says Sur, the Newton Professor in BCS and The Picower Institute for Learning and Memory at MIT. “Our team thought this would be a wonderful opportunity for us to do something outside the box.”

Getting unruly

At a session in a small event hall in Burlington, SCSB postdocs and administrators and members of Sinha’s lab laid down tarps and set up stations of materials for dozens of elementary school children from the LABBB Educational Collaborative, which provides special education services to  schoolchildren from ages 3 through 22 from local communities. In all, UnrulyArt hosted approximately 60 children across four sessions earlier this spring, says program director Donna Goodell.

“UnrulyArt” creates joy and engagement, regardless of ability

Children could experiment with an especially unruly form of painting: skating around on the paint in their socks over a large square of paper.

Photo courtesy of the Simons Center for the Social Brain.


“It’s also a wonderful social opportunity as we bring different cohorts of students together to participate,” she notes.

With the room set up, kids came right in to get unruly with the facilitation of volunteers. Some children painted on sheets of paper at tables, as any other children would. Other children opted to skate around on globs of paint on a huge piece of paper on the floor. Many others, including some in wheelchairs who struggled to hold a brush, were aided by materials and techniques cleverly conceived to enable aesthetic results.

For instance, children of all abilities could drop dollops of paint on paper that, when folded over, created a symmetric design. Others freely slathered paints on boards that had been pre-masked with tape so that when the tape was removed, the final image took on the hidden structure. Yet others did the same with smaller boards where removal of a heart-shaped mask revealed a heart of a different color.

One youngster sitting on the floor with Sinha Lab graduate student Charlie Shvartsman was elated to learn that he was free to drop paint on paper and then slap it hard with his hands.

“UnrulyArt” creates joy and engagement, regardless of ability

Charlie Shvartsman, a member of Professor Pawan Sinha’s Brain and Cognitive Sciences Lab, helps a local student create art by jubilantly slapping paint to the paper.

Photo: David Orenstein


Researcher reflections

The volunteers worked hard, not only setting up and facilitating but also drying paintings and cleaning up after each session. Several of them expressed a deep sense of personal and intellectual reward from the experience.

“I paint as a hobby and wanted to experience how children on the autism spectrum react to the media, which I find very relaxing,” says Chhavi Sood, a Simons Fellow in the lab of Menicon Professor Troy Littleton in BCS, the Department of Biology, and The Picower Institute.

Sood works with fruit flies to study the molecular mechanisms by which mutation in an autism-associated gene affects neural circuit connections.

“[UnrulyArt] puts a human face to the condition and makes me appreciate the diversity of the autism spectrum,” she says. “My work is far from behavioral studies. This experience broadened my understanding of how autism spectrum disorder can manifest differently in people.”

Simons Fellow Tomoe Ishikawa, who works in the lab of BCS and Picower Institute Associate Professor Gloria Choi, says she, too, benefited from the chance to observe the children’s behavior as she helped them. She said she saw exciting moments of creativity, but also notable moments where self-control seemed challenging. As she is studying social behavior using mouse models in the lab, she says UnrulyArt helped increase her motivation to discover new therapies that could help autistic children with behavioral challenges.

“UnrulyArt” creates joy and engagement, regardless of ability

One of the works created by the volunteers used traced paper cutouts that children made of their hands and signed.

Photo courtesy of the Simons Center for the Social Brain.


Suayb Arslan, a visiting scholar in Sinha’s Lab who studies human visual perception, saw many connections between his work and what unfolded at UnrulyArt. This was visual art, after all, but then there was the importance of creativity in many facets of life, including doing research. And Arslan also valued the chance to work with children with different challenges to see how they processed what they were seeing.

He anticipated that the experience would be so valuable that he came with his wife Beyza and his daughter Reyyan, who made several creations alongside the other kids. Reyyan, he says, is enrolled in a preschool program in Cambridge that by design includes typically developing children like her with kids with various challenges and differences.

“I think that it’s important that she be around these kids to sit down together with them and enjoy the time with them, have fun with them and with the colors,” Arslan says.

Should You Put your Worship Service on TV? – Videoguys

Should You Put your Worship Service on TV? – Videoguys

In the blog post “Why Shouldn’t Your Church be on Television?” by Phil Cooke for Church Production, the author argues that traditional broadcast television remains a valuable platform for pastors and ministry leaders, despite the rise of digital media. Cooke presents several reasons why television is still relevant and impactful for spreading religious messages:

  1. Adaptability of Platforms: As new media platforms emerge, older ones adapt rather than disappear. Television continues to adjust and find its place alongside digital platforms.

  2. Wide Reach: Television still reaches vast audiences, as evidenced by the continued broadcast of major events like the Super Bowl and the Academy Awards on TV.

  3. Accessibility and Demographics: TV is accessible to a wide variety of audiences, and many people inadvertently discover religious programming while channel surfing.

  4. Credibility: Broadcast television is often perceived as more authoritative and credible than other media, making it a trusted source during emergencies and crises.

  5. Communal Experience: Television provides a communal viewing experience, where large numbers of people watch the same content simultaneously, fostering a sense of togetherness.

  6. Multisensory Appeal: The combination of visuals, spoken word, and music on television creates a powerful and engaging experience that can deeply resonate with viewers.

Cooke emphasizes that television is far from obsolete and remains a potent tool for evangelism. He encourages pastors not to dismiss TV outright due to cost or misuse by others but to recognize its potential for reaching a diverse and widespread audience with a message of hope.

Read the full article by Phil Cooke HERE

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