Category Archives: Radio Haiti

Learning About Home, Away from Home: A Student Assistant in the Radio Haiti Archive

Post contributed by Krystelle Rocourt (Trinity ’17), student assistant for the Radio Haiti Archive project.

The international media has long presented a distorted image of Haiti, one that leaves out the multiplicity of our people, exoticizes our culture, and depicts poverty as universal, without context or history. Haiti is labeled the poorest nation in the Western Hemisphere, a country teeming with chaos and suffering, the eternal recipient of foreign aid.

One of my tasks at the Radio Haiti archives is to help process the hefty stacks of US newspapers collected by Jean Dominique and Michèle Montas during their 1980-1986 and 1991-1994 exiles in New York. Often, I had to keep myself from being distracted by sensationalist headlines in order to get through the newspaper clippings that had yet to be sorted. Every so often, however, I would come across something so startling that I would have to pause to absorb the shock.  How could such things be published in supposedly unbiased sources of international news?  It disturbed me that people with limited knowledge could make derogatory claims that would have permanent effects on people’s understanding of Haiti’s place in the world.

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Over 700 miles from Miami, but several centuries away.” Miami News, 1981
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In which the New York Times describes the refugee camp at Guantanamo Bay as an “oasis” – November 1991

 

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Haiti, “Land of Fear and Death”, New York Post, 1991

When I came to Duke as a freshman, I had preconceived ideas of the struggles I would face, but a challenge to my identity as a Haitian was not one of them. Whenever I would tell people I was from Haiti, I would get skeptical gazes or looks of astonishment followed by remarks like “Haiti! Where in Haiti? Both your parents are from Haiti? Are they doctors working in Haiti?”, so that I could further validate the incongruence between my appearance and my claim. When I noticed a trend in these reactions, I began to reflect and question my origin and actually felt shaken when a simple “Yes, I’m Haitian” was not enough. I was not oblivious to the fact that I did not look like the “average Haitian”; I grew up very aware of this fact. It did not come as a surprise that I would be met with these reactions upon introducing myself, but as I thought about it, I began to uncover truths about my position in Haitian society that were difficult for me to accept. It was extremely uncomfortable to face the fact that I did not belong to the Haitian majority, but to a very small elite minority, because it confirmed the existence of the chasm between the two groups that I had observed my whole life but never fully come to terms with.

Never before had this difference invalidated my sense of belonging. My insecurity persisted, however, because it stemmed from the possibility that my sense of belonging was laced with ignorance.  Could I truly claim to be part of a group whose struggle I never had to fully share? There is an undeniable and deep-seated social-class hierarchy in Haiti that often corresponds with the pigmentation of one’s skin. After Haiti won its independence, the first republic to emerge from a large-scale rebellion by enslaved people, conflict arose between Black Haitians and Haitians of mixed race, a division that remains to this day. Since Haiti’s birth as a free nation, its image has been vastly shaped by the outside world’s interpretations; the international media rarely depicts Haitians looking like me. Yet to claim skin color alone as the defining factor of Haitian identity would undermine my lived experience: if I am not Haitian, what am I?

Each time I left Duke and returned to the bubble of elite Port-au-Prince, the social system there seemed more and more problematic, one in which the rich and poor live side by side but are worlds apart. There were people who blatantly proclaimed that the divide between rich and poor was inevitable and necessary, and those who claimed that we were all “one nation” despite the inequality. No matter how idealistic and deceptively unifying it sounded to claim that all of us are one despite our social class and backgrounds, I felt it unfair to ignore the differences in our experiences as Haitians. Overlooking the divide leads to a form of hypocritical erasure, one that disregards the oppressive elitist perception projected onto one group by another.  Denying the complex situation of social class in Haiti belittles the suffering of many and excuses the powerful for their contribution to this disparity. Though I’d often heard criticism of the “savior complex” of foreign aid workers in Haiti, I found it within our walls in air of superiority held by those overlooking the masses, who believed that the poor were the reason for the deprived state of the country today.

After my second summer at home, I returned to Duke as a junior and began to work as an assistant on the Radio Haiti project. In order to better understand the station’s work and legacy, I watched The Agronomist, the documentary about Jean Dominique and Radio Haiti. I had to pause the movie several times to collect my racing thoughts and feelings. I felt deep pain and nostalgia: what the film showed was at once so familiar and so foreign. I was angry that I had never heard many of these stories, that I had grown up among those same landmarks and never understood the events that had unfolded there not long before.

A veil lifted for me when I learned about the work of Radio Haiti, impacting how I thought about home. I heard uncompromised truth verbalized, one I had struggled to define and speak out myself. I discovered a way of thinking that seemed fair and just. I felt disappointed about the state of oblivion I had lived in for so long, as I was learning about events that my parents and grandparents had lived through, yet never spoken about within our household. The silence felt like an injustice to the lives taken and the history that left the nation the way it is today. Radio Haiti brought the truth to light and never compromised their mission to uphold this truth, even in the face of violence and intimidation. It brought me solace, and gave me the strength to challenge the perceptions that had been passed on to me and quieted the anxiety that told me that there was no place for those who contradicted and challenged the system. To see members of the mixed-race elite who choose to align themselves with the struggles of the urban and rural poor gave me courage to follow their steps. It instilled in me a desire and sense of responsibility to actively connect with the history of my homeland if I am to bear the title of being Haitian.

The Voices of Change project was made possible through a generous grant from the National Endowment of the Humanities.

Meet the Staff: Laura Wagner, Radio Haiti Project Archivist

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 Laura Wagner is the Project Archivist for the Radio Haiti Archives. She joined the Rubenstein in 2015. She has a PhD in anthropology from UNC. Her dissertation is about the 2010 earthquake and its long aftermath: how did people’s everyday lives and social worlds change (or not change) in the wake of the disaster and displacement? How do people get by in an aid economy? How did Haitian people and non-Haitian interveners make sense of the humanitarian response and its failures?  She also wrote a YA novel, Hold Tight, Don’t Let Go , which deals with some of the same issues. Her interests include Haiti, literary fiction and nonfiction, humanitarianism, human rights, and social justice. She has been a frequent contributor to the Devil’s Tale since joining the RL. 

How do you describe what you do to people you meet at a party?  To fellow librarians and library staff?

At parties I say “I work on the archives of Haiti’s first independent radio station.”  Then that confuses them and they think I’m doing research in the archives, and I have to clarify that I’m processing the materials.  Then they generally want to know why these materials live at Duke.  And if I’m at a party in Haiti, people then want to talk to about their own memories of Radio Haiti and of Jean Dominique, and they ask me if the station will ever reopen. To librarians and library staff, I say I’m a project archivist who never trained as an archivist.

What led you to working in libraries?

This project.  I had never worked in a library before.  I began working on this project as an external contractor for the Forum for Scholars and Publics, which was collaborating with the Library to create a public-facing pilot website with a small sample of the Radio Haiti recordings.  When the opportunity to apply for the Project Archivist job came along, I applied.  I had already decided that if it was possible, I wanted to work on this project full time.  Temperamentally and experientially, I am probably a bit of an outlier among the library set.

Tell us about your relationship to Radio Haiti. How has it evolved since taking on this position?

Jean Dominique, Michèle Montas, and other members of the Radio Haiti team had numbered among my heroes since I first started learning about Haiti and learning Haitian Creole, back in 2004.  I never could have imagined that one day I would have the opportunity to work on preserving the work of Radio Haiti.  The first time I met Michèle, in April 2014, I was embarrassingly giddy. It is a huge honor to work on this project.

I’m learning a lot about late twentieth century Haiti, in a very granular way.  I already knew the major events and trends, the main themes, but always analytically and in hindsight.  It’s a very different experience to learn about events through real-time, day-to-day reporting, done by people who did not yet know the outcome of the story.  It’s fascinating, but also often sad and frustrating because you see the same things happening over and over and over again, until today.  The same injustices, the same impunity, though sometimes it “repaints its face”, to use a phrase that Jean Dominique uses.

 How does your work at the Rubenstein influence your approach to research and writing?

I was a researcher and writer before I started working on this project, so I have to keep myself in check; I cannot follow my instincts and desires by letting myself act as a researcher and writer when my job, for the moment, is to be processing the archive.  That said,  I hope to someday write something substantial about this archive.  I can also say that my experience as a researcher and writer influences my approach to processing this archive.  I want it all to be clear and transparent; I want to provide context and thematic guidance for future researchers and listeners.  Working on the Radio Haiti archive has been a huge learning experience for me, and I want to impart as much of that knowledge as possible to others down the line, by incorporating that knowledge into the structure and description of the archive.

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What does an average day at RL look like for you? 

Because this is a single project with a clear goal and endpoint, and with defined stages, my typical workday varies depending on what we’re working on.  These days I am mostly working through Radio Haiti’s paper archive.  So I get to work, answer some email, and start organizing the papers, removing the faded invisible Thermofax pages, sorting them by subject and year.  I have two excellent undergraduate assistants this semester, both Haitian, who are starting to listen to and describe some of the recordings.  I am very eager to finish processing the papers so I can focus on the audio full-time.  I also spend part of the day thinking about broader questions of access — how we’re going to make this collection as available and accessible as possible to people in Haiti, given the social and infrastructural realities there.  I am very eager to begin working on the recordings full-time, of course.

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Laura working alongside her student assistant Tanya Thomas.

What do you like best about your job? What excites you most?

What excites me the most is that I am helping keep this important work alive, making it accessible to people in Haiti and beyond. And I just really like the experience of listening to the recordings.  Sometimes it’s hard for me to listen as an archivist, rather than as a researcher and writer.  So it’s fun when I get to write a blog entry about the project, and synthesize and put together different parts of the archive, translate some excerpts, and provide context to people who may not already know the story of Radio Haiti.  As I said, it’s a great honor to work on this collection, to be entrusted with this collection.  As Michèle says, part of Jean’s soul is here.

What might people find surprising about your job?

I think it depends on the person. For people who aren’t used to processing archival collections (id est most people), I think they’d be surprised at how much physical restoration, intellectual labor and time this job takes.  A lot of people want the Radio Haiti collection to be available as soon as possible.  (I’m one of them!) And many people don’t understand why we can’t do it instantly.

What is the most challenging aspect of your job?

I have two answers to that, which are sort of incommensurate with one another.  In a day-to-day sense, it can be tedious, and I sometimes feel isolated in this work.  Radio Haiti itself was a team effort — it was a social, collaborative, interactive entity, an act of ongoing solidarity, both in terms of the journalists and their audience… and the audience was nearly all of Haiti.  So engaging with that work in my cubicle in a converted tobacco warehouse in Durham, North Carolina, can feel lonely.  At the same time, I feel connected to the people who appear in the tapes, across time and space, even across life and death.  Which brings me to the second challenging aspect of this job, which is actually the same as my favorite thing about the job: the weight of history, the weight of memory.  This collection is a huge part of Haitian national heritage. And so much of it is sad, frustrating and infuriating — there is so much injustice, suffering, and absurdity in this archive.  Sometimes it’s emotionally difficult to listen to these things — though Jean Dominique’s incisive intellect and humor make it easier.  It sounds strange, but I laugh all the time.

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Laura surveys her boxes

Do you have a favorite piece or collection at The Rubenstein? Why?

Well, the Radio Haiti collection is obviously my favorite collection, for all the reasons I’ve mentioned.  I’m not intimately familiar with the other collections, but the National Coalition for Haitian Rights archive has some fascinating material in it that often complements the Radio Haiti collection.  And I like all the History of Medicine collections, especially Benjamin Rush papers, which are poignant, and the creepy suede baby + placenta.

Where can you be found when you’re not working?

Cooking dinner with friends, baking cakes, drinking a beer, vaguely working on novel #2, vaguely revising my dissertation, singing in the car, asking my cats why they are thundering hither and yon at 2 am.  I like making silly little greeting cards for friends; I’ve been thinking about taking an actual art class or something.  I’d like to know how to access all the other seasons of the Great British Baking Show.  And I’ve started running as of late, at which I am truly mediocre.  It’s liberating to do something you know you have no hope of being good at.

What book is on your nightstand/in your carryall right now?

There’s a stack!  I’ve been slowly savoring the Complete Stories of Clarice Lispector for a few weeks, but it’s a bit heavy to carry around.

Interview conducted and edited by Katrina Martin.

The processing of the Radio Haiti Archive and the Radio Haiti Archive digital collection were made possible through grants from the National Endowment for the Humanities.

April 3: Jistis pou Jando

“Why all this noise and all this furor for a man two years dead?  Why all these mobilizations throughout the country?” With these words, Michèle Montas began her April 2002 editorial on the second anniversary of the assassination of her husband, Radio Haiti-Inter director Jean Dominique, and station employee Jean-Claude Louissaint.  “Why Jean Dominique?  This question has been asked for several weeks, in the background of the mobilizations around the second anniversary of the assassination of the journalist Jean Dominique.  It is asked in whispers, but the admiring or, for some, incredulous sotto voce at times grows annoyed and strident among those who do not understand that this dead man refuses to die.  That a murder perpetrated two years ago, now, continues to make news. Why Jean Dominique?”

pa kite san jando drive ate

On April 3, 2002, the grassroots human rights group Fondation 30 Septembre poured red paint before the gate of the Ministry of Justice (which leader Lovinsky Pierre-Antoine referred to sardonically as the “Ministry of Injustice”) and displayed an effigy of the slain journalist.  The slogan was “Pa kite san Jando drive atè.”  “Don’t let Jean Do’s blood pool on the ground.”   Two years after the murders, people were angry and frustrated that the judicial process had stalled.  Now, sixteen years on, Jean Dominique and Jean-Claude Louissaint have still not found justice.  The Jean Dominique case, like so many attempts to combat injustice in Haiti, has been filled with absurdity, a tragicomedy of errors and malfeasance.

Pessimism is seductive in the face of such impunity, when the system is stacked and cynical, when the victories are relative or Pyrrhic, when convicted murderers, torturers, and war criminals like Luc Désir and the perpetrators of the Raboteau massacre eventually walk free.   When the state cannot or will not provide justice — when the state provides, instead, a mockery of justice –justice can manifest beyond the courts, beyond the government, beyond the system.  It can manifest in the streets.  La justice du peuple est en marche.


In 2001, artist Maxan Jean-Louis painted the assassination of Jean Dominique and Jean-Claude Louissaint.  The canvas is dominated by the Radio Haiti building with its emblematic red-and-blue vèvè (a vodou symbol reimagined in the shape of a microphone).  In the background are two men struck down in the parking lot.  Jean’s silenced microphone lies beside him. Jean’s family and the Radio Haiti staff weep while the police and the media look on – rather helplessly, it seems, their arms at their sides.  Tears run down the face of one of the policemen.

yo touye jando

The most dynamic part of the painting are the protestors in the foreground, the men and women standing in the street, outside the station’s walls, clamoring for justice while the weeping policeman looks on.  Their arms raised in protest, their lips parted as they shout, they carry signs:  DOWN WITH CRIMINALS.  WE MUST HAVE JUSTICE.  DOWN WITH THE DEATH MACHINE.  LONG LIVE PEACE.  JUSTICE FOR JOURNALISTS. JUSTICE FOR JEAN DOMINIQUE.  Above them is written: APRIL 3 2000.  FAREWELL JEAN DOMINIQUE.  THE PEASANTS WILL NEVER FORGET YOU.

In the literal sense, that was not how it happened.  Jean Dominique was shot just after 6 am, at the time of the daily Creole news broadcast, and he was pronounced dead at l’Hôpital de la Communauté Haïtienne shortly after.  There was no time for crowds to assemble while his body still lay on the ground.

The painting is a metaphor, then, or perhaps a depiction of time compressed.  The urban and rural masses and civil society organizations did mobilize that very day and for years after: grassroots human rights groups, grassroots peasants’ groups, women’s groups, unions, and ordinary citizens. As Michèle Montas explains, “the mobilizations began on April 3, 2000, through the protests and the expressions of solidarity of hundreds of people shocked by the assassination of a pro-democracy activist who had survived all the regimes against which he had courageously fought, to fall victim to a contract killing during a democratic season that he worked to establish.”

Five days after the murders, on April 8, the state funeral for Jean Dominique and Jean-Claude Louissaint at Stade Sylvio Cator in downtown Port-au-Prince was attended by 15,000 people, of whom 10,000 were rural farmers.   On July 31, 2000 – what would have been Jean Dominique’s seventieth birthday – more than 10,000 peasant farmers from the Association des Planteurs et Distillateurs de Léogâne et Gressier gathered at the Darbonne sugar factory to thank and demand justice for Jean Dominique.  That same day, the Centre de Production Agricole Jean L. Dominique, run by small-scale coffee growers, was inaugurated in Marmelade.  Hundreds of peasant farmers gathered to pay tribute.  And that same day, musicians, poets, and vodouisants gathered in the courtyard of Radio Haiti to pay homage to Jean Dominique.

In the archive of things Radio Haiti held onto, I came across a song called “Won’t Jean Dominique Find Justice?” by Haiti Rap Force.  From the hand-drawn cover, I assume it was a local rap group from one of Port-au-Prince’s quartiers populaires.  They sing that justice is not achieved through only formal, state-sponsored institutions.

Dosye Jean Dominique pa koute sèlman tribinal
sa konsène tout tout moun an jeneral
n’ap bat poun fè ti pèp la bliye
Nou pa gen dwa janm bliye lanmò Jean Dominique
Refren:
Men se ki lès ki gen flanbo-a kap klere chimen-an poun pa tonbe
Men se ki lès ki konn chimen-an ki va di nou kote nou prale

The Jean Dominique case won’t just be heard in the tribunal
It concerns every single person in general
Trying to make the people forget
But we shall not ever forget the death of Jean Dominique
Refrain:
But who will hold the torch that will light the way so we do not fall?
But who knows the path, who will tell us where we are going?


At the end of the editorial, Michèle returns to the question with which she opened.  “Why Jean Dominique?  Why all this noise, all this noise and all this furor, for a man two years dead?  Why these mobilizations reaching well beyond our borders?  This question is asked in different tones: with admiration among those who understand only now that justice and the defense of freedom are not a gift, and that they can only be the result of permanent pressure to force institutions and political leaders to act in accordance with their mandates; with hostility on the part of the enemies of the journalist, those who ordered his killing, or those who rejoiced at April 3, 2000, at being freed from a voice so strong and, for certain interests, so troublesome. ‘Jean Dominique pa pitimi san gadò’ [Jean Dominique is not unguarded and free for the taking], as we say in one of our radio spots.  His killers had no idea how true that was.”

Thinking about grassroots mobilization in response to injustice reminds me of Jacques Roumain’s Masters of the Dew (Gouverneurs de la rosée).  It is the story of Manuel, a poor cultivator from rural Haiti who becomes politically engaged and organizes his fellow peasants to overcome the things that divide them, to unite in defense of their rights and their land.  Manuel organizes a konbit, the traditional form of communal labor, before he is stabbed to death.  Jean Dominique and his elder sister, the writer Madeleine Paillère, were so moved by novel that they translated the dialogue into Haitian Creole and adapted it for radio in 1972-1973.  It is one fitting epitaph for an agronomist-activist, an intellectual who at great cost threw in his lot with the dispossessed, a man who believed that redemption lay not in suffering, but in solidarity.

On chante le deuil, c’est la coutume, avec les cantiques des morts, mais lui, Manuel, a choisi un cantique pour les vivants: le chant du coumbite, le chant de la terre, de l’eau, des plantes, de l’amitié entre habitants, parce qu’il a voulu, je comprends maintenant, que sa mort soit pour vous le recommencement de la vie. 

It is the custom to mourn by singing hymns for the dead, but he, Manuel, had chosen a hymn for the living – the song of the konbit, the song of the soil, of the water, of the plants, of friendship between peasants, because he wanted, I understand now, that his death be for all of you the a new beginning of life.

RH painting detail

Post contributed by Laura Wagner, PhD, Radio Haiti Project Archivist. 

The Voices of Change project was made possible through a generous grant from the National Endowment of the Humanities.

“The Poetic Inflections of a Voice Addressing a Tribe of Men Besieged by Beasts”: Radio Haiti’s Cultural Programming

On December 29, 1972, the renowned writer, poet, and visual artist Frankétienne, one of the fathers of the Spiralist literary movement, wrote a letter to his friend, Jean Dominique.

My very dear Jean, how the years have passed, since that afternoon when I first saw you at Thony Phelps’ house!  That was in 1962, I believe.  You smoked a pipe at the time.  That day, there was talk of a book upon which you would be commenting the next day on the air at Radio Haïti.  Ah!  How the years have passed! 

For Frankétienne, Jean Dominique was both a personal friend and an intellectual interlocutor; the cultural programming he oversaw at Radio Haiti not only showcased Haitian arts and literature, but also influenced them.

Meanwhile, you continue, with ferocity and great faith, in your work as a lucid informant, guiding your listeners, aiding the youth with your advice.  And as for me, I was among that number who listened to you, who followed you closely.  Your critical analyses were for me an invaluable contribution, as much on the cultural level as on the purely human level. Your Sunday broadcasts enhanced my love of art, cinema and in particular literature, even influencing my reading and literary research.  And, today, now that we have become friends, this remains true.  Jean, my brother, you could not suspect or guess how my conversations with you have oriented and enriched my work as a writer.  Your insights have been of great use to me, with regard to the material of my last book Ultravocal

 The letter is from 1972, shortly after Jean Dominique bought Radio Haiti; it offers a glimmer of what was to come. In the years that followed, Radio Haiti’s main cultural program “Entre Nous” would become something of an on-air salon, a place where painters, poets, novelists, historians, social scientists, storytellers, playwrights, musicians, critics, and others came together to discuss their work.  Émile Ollivier, Mimi Barthélemy, Edwidge Danticat, Amos Coulanges, Tiga, Georges Castera, Syto Cavé, Roger Gaillard, Jean Fouchard, Kettly Mars, Dany Laferrière, Gary Victor, Yanick Lahens, Ralph Allen, Jean René Jérôme…

To listen to these creators of art and of knowledge is to reorient the narrative about Haiti.  The standard story of Haiti is dominated by crisis: rare is the mainstream US news article that does not contain the words “the poorest country in the Western hemisphere.”  Haitian people are depicted as either powerless victims or bloodthirsty criminals.  For centuries, lurid, racist, deterministic narratives have enabled dominant geopolitical powers to undermine Haitian sovereignty and justify exploitation. According to these tropes, Haiti and Haitian people are organically poor – not only materially and economically, but intellectually, culturally and morally as well.  Haiti is atavistic, violent and diseased. Haiti is starving children, “boat people,” ragged people.  Haitian suffering is described, exaggerated, and luxuriated over, but rarely presented as anything other than an inevitability.

Radio Haiti presented Haitian narratives about Haitian crisis, exposing and analyzing the structural causes of oppression and political instability.  The archive contains the voices of the intellectual elite and of the urban and rural poor alike, for Radio Haiti was one of the few places at the time where the oppressed and disenfranchised masses had lapawòl, the power of speech.

And in its cultural programming, Radio Haiti achieved even more: it decentered the narrative of crisis.  It presented not a Haiti of suffering, but a Haiti of beauty and brilliance, one in which crisis is met with and defied by acts of creation.  A Haiti in which art, both implicitly and explicitly, is political.

A few months ago, I found a little piece of ephemera hidden face-down at the bottom of a reel-to-reel tape box.  It had been used as scratch paper: on one side is a handwritten list of sponsors from the late 1980s (Parkay Margarine, Kraft Mayonnaise, Breacol cough syrup, and so on).  On the other side is this:

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Raffle ticket, December 1979

By 1979-1980, businesses no longer advertised on Radio Haiti. The station openly opposed the Duvalier dictatorship, and potential sponsors, afraid of reprisal, did not want to be seen as accomplices.  During this time, station manager Richard Brisson famously raised some money by using his car as a taxi. And in December 1979, several celebrated Haitian painters donated their works for an art raffle in support of Radio Haiti.   Each ticket cost three dollars, for the chance to win a piece by one of these twelve renowned artists.  The ticket is a relic, a souvenir of the extraordinary devotion that Radio Haiti inspired.  It is also a poignant reminder of the grinding struggle to keep the station afloat day-to-day in the face of economic obstacles and political oppression.

Sometimes it feels as though Radio Haiti’s story, like that of Haiti itself, is eclipsed by crisis — that Jean Dominique’s assassination has become the principal lens through which we understand and remember Radio Haiti.  But the loss of Jean Dominique and the injustice of his murder matter because his life mattered, because Radio Haiti’s many decades of work and legacy matter.  Before the symbolic weight of memory, before the burden of hindsight, before the doomed prophet, there was the daily work of the station — all of which lives on in this archive.

So much comes before death; so much remains when death is no more.


In his letter to Jean Dominique, Frankétienne outlines the challenges facing the Haitian writer who strives to be accessible.

All writers, at least as far as I’m concerned, would like to be read and understood by their people, by the greatest number of people possible.  It is our dearest hope.  Yet, if that does not occur immediately, then another story, often macabre, begins.  In the case of our country, one must overcome a double illiteracy: 1) obvious illiteracy (the inability to read at all, whether in Creole or in French) and 2) hidden illiteracy (the belief that one knows how to read, but in truth one does not perceive the structure and the possible meanings of a text).  Faced with this double difficulty, or rather facing this double obstacle, the Haitian writer has no choice.  It is absolutely impossible for him to write for the masses that cannot read at all.  And this makes him suffer terribly, especially when, in his books, he reckons with problems that would be of utmost interest to those illiterate masses

Radio was a medium of unparalleled power in twentieth-century Haiti: it enabled people to participate in public discourse, as both listeners and speakers, whether or not they could read and write.  And it allowed writers to reach a far broader audience, to be true public intellectuals.  For this is what Jean Dominique was: a public intellectual. It was on the radio that his intellect unfurled: analytical and incisive, sometimes staggering.

There is a poet character who wanders, searching through words in a verbal delirium, writes Frankétienne in his letter, describing the themes of Ultravocal. 

In the course of his phantasmal voyage, overcome by pain, he discovers that his drama is not entirely personal, that his own rupture is nothing more than one aspect of a far wider tragedy, the great human misery.  From that moment on, the text breaks apart, spreading from the individual to the collective, from the subjective to the objective, from the particular to the general…  And the poet character, entwined with the narrator, dizzy, speaks. The poetic inflections of a voice addressing a tribe of men besieged by beasts.  My voice, perhaps.  Yours, or that of either of us.  And, when the narrator suggests… that one day, evil will be struck down into the dust with a terrible noise, then begins the final song, that of hope.


A week to the day before Frankétienne wrote his letter, Jean Dominique interviewed the painter Rose-Marie Desruisseau, in which she describes participating in ceremonies as part of her research for a series of paintings on Vodou.  (It was revolutionary, at that time, to speak on the radio of Vodou as a topic of intellectual and cultural importance and as everyday practice: Duvalier père had politicized and exerted control over Vodou, manipulating its imagery for his own purposes and power while exercising sanctions on the practice.)  Desruisseau describes her interactions with the Gede spirits, who are intermediaries between life and death. They dance provocatively through the cemetery, and shout and sing obscenities.  They are lively gods of death.  Vulgarity and humor, which transcend respectability and social convention, are the very things that enable Gede to straddle life and the afterlife, to be the master of the crossroads.

Rose-Marie Desruisseau explains:

“J’ai commencé d’abord par les dieux de la mort, tu vois, et puis je n’ai pas trouvé la mort chez eux, j’ai trouvé la vie intense, chez eux… chez les Guédés. Je n’ai pas trouvé la mort du tout.”

“I began first with the gods of death, you see, and it was not death that I found there.  I found intense life there… among the Gede spirits.  I did not find death at all.”

Radio Haiti’s archive, like a cemetery, like Haiti itself, is a place that could be defined by tragedy, loss and death.  The archive, like Haiti’s history, is filled with human rights violations, massacres, impunity, and assassinations.

Yet, listening to artists and iconoclasts, creators and truth-tellers, I recall those same words: It was not death that I found here, in Radio Haiti’s archive.  I found intense life here; I did not find death at all.

Post contributed by Laura Wagner, Ph.D., Radio Haiti Project Archivist. 

The Voices of Change project was made possible through a generous grant from the National Endowment of the Humanities.

“Radio Haiti, You are the Rain. If You Didn’t Fall, We Could Not Bloom”: Repression and Remembrance on November 28

On November 28, 1980, the Duvalier regime unleashed a campaign of violent repression on the independent press and human rights activists, destroying the Radio Haiti station on Rue du Quai in downtown Port-au-Prince.  The crackdown was not unexpected: in October of that year, Jean-Claude Duvalier had decreed on the National Radio station that only state media would be permitted, that “the party is over” (“le bal est terminé”) for independent Haitian media. In response, Jean Dominique composed his prophetic (and beloved) editorial Bon appétit, messieurs, in which he sardonically declares, “gentlemen, journalists of the official press — the country is yours and yours alone from now on.  And all will be beautiful, all will be peaceful, all will be idyllic, all will be pink and wonderful!” and warns these “official journalists” of what will befall Haiti when the independent press is silenced. Ronald Reagan’s triumph in the US presidential election that November meant decreased international pressure on Duvalier’s government – which was largely dependent on US aid – to respect human rights.  And so, on November 28, the inevitable crackdown occurred.  More than a dozen of Radio Haiti’s journalists were imprisoned, tortured, and expelled. The regime issued an order to kill Jean Dominique on sight; he escaped to the Venezuelan embassy and later went into exile with Michèle Montas in New York.  In the years that followed, resistance to the regime spread throughout the country, as economic conditions worsened for the majority of Haitian citizens while the Duvalier family’s lifestyle grew more ostentatious, lavish and dissipated.

On November 28, 1985, five years to the day after the 1980 crackdown on the independent media, protests broke out in Haiti’s third-largest city, Gonaïves.  Three high school students — Jean-Robert Cius, Mackenson Michel, and Daniel Israël – were gunned down by Duvalier’s forces.  In photos, they are heartbreakingly young – boys, not yet men.  The teenaged martyrs were christened the “Twa Flè Lespwa” (Three Flowers of Hope), and their deaths catalyzed outrage and resistance to the regime, both within Haiti and in Haitian communities abroad.

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Flier for Brooklyn protest against Duvalier and the killing of the Twa Flè Lespwa. Radio Haiti Archive.

In January 1986, Jean Dominique co-authored a short op ed in Newsday with lawyer and human rights advocate Arthur Helton, discussing the deaths of the Twa Flè Lespwa, the grassroots agitation provoked by their murders, and the United States’ complicity in supporting the Duvalier regime.

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“Haiti No Longer Suffers in Silence” by Jean L. Dominique and Arthur C. Helton. Newsday, January 27, 1986. Radio Haiti Archive.

They warn, perhaps cautiously: “Discontent grows and a fundamental conflict is looming.”  The conflict was indeed looming, but it was not yet clear how imminent it might be.

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Le Petit Samedi Soir, Haitian independent magazine, for February 1-7, 1986. Radio Haiti Archive.

But on February 7, 1986,  just over a week after Jean Dominique’s and Arthur Helton’s editorial was published, it happened: Jean-Claude Duvalier and his family boarded a US Air Force cargo plane and fled to France.  On March 4, Jean Dominique and Michèle Montas returned to Port-au-Prince, where many thousands of people – “une masse en délire,” a delirious crowd, according to the Haitian newspaper Le Nouvelliste – received them at the airport and nearly carried them to the old Radio Haiti station on Rue du Quai.

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Photocopy of Nouvelliste story on return of Jean Dominique and Michèle Montas to Haiti. March 5, 1986. Radio Haiti Archive.

The station had been ravaged, their equipment smashed.  But the recordings, miraculously, had survived.  J.J. Dominique – Jean’s eldest daughter, who became the station manager after 1986 — explains: “We always said, ‘The Macoutes, they may destroy, but they don’t know the true value of so many things’… They didn’t think, they didn’t understand that the most valuable thing at the station was the work contained in the station’s archive.”

With assistance from the Haitian people – many of whom, though very poor, gave what little money they could afford — the station reopened in 1986.  On November 28 of that year, Radio Haiti held a day-long commemoration of November 28, 1980 and November 28, 1985. It included tributes to the Twa Flè Lespwa and to station manager Richard Brisson who had been killed in 1982.

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Radio Haiti’s November 28, 1986 special programming. Radio Haiti Archive.

The archive also contains many pages of poetry written by Radio Haiti’s listeners, in Haitian Creole and French, on the Twa Flè Lespwa, the reopening of the station and the return of the journalists. The heartfelt, earnest intensity of these poems (these love letters, really) evinces the public’s devotion to Radio Haiti.  For Radio Haiti’s listeners, the station was more than a station; it was a symbol of liberty, grassroots democracy, and freedom of expression.  For Radio Haiti’s listeners, the journalists were more than journalists; they were heirs to the revolutionary legacy of Haitian heroes who had fought against French colonizers and US occupiers. For me, as the project archivist, finding these poems is a reminder of how irreplaceable and beloved Radio Haiti was and still remains, and how important this archive is.

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Un Jour Comme Aujourd’hui” by Elmate Parent. Radio Haiti Archive.



A day like today

            Under the sorrowful sky of November 28 in the year ‘80

            Haiti’s sun went out

            Sending these brave men, these heroes,

            Fruit of the body of Dessalines, of Charlemagne Péralte

            Fighting with courage,

            For nothing more than the liberation of Haiti,

            Upon the claws of assassins cruel

            With hope they suffered and toiled

            All for the same cause.

A day like today

                        The skies of Haiti wept,

                        And her tears, borne of pain,

                        Allowed life to germinate.

                        You, brave patriots, true offspring of the people,

                        You have suffered such humiliation

                        And endured physical torture.

                        You left your families

                        Your country and your friends

                        To go and live under another sky

                        Where you were strangers

                        All of this for nothing more than the deliberation of Haiti

                        Your native land…

            A day like today

                        In the heavens over Gonaïves,

                        Three brilliant stars burned out

                        They gave their light

                        To reveal crimes

                        And their blood to fertilize

                        The arid soil of Haiti

                        Whereupon shall sprout and grow

                        The tree of freedom.

                        Mackenson Michel, Daniel Israël, Jean Robert Cius

                        Will your famous names,

                        Be erased from our thoughts?

                        Today, 28 November ’86…

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“Men bèl ti paròl yo” by Emmanuel St. Louis. Radio Haiti Archive.

“Men bèl ti paròl yo” (“Some lovely little words”) draws on metaphors of nature and harvest befitting Jean Dominique, a man who was, after all, an agronomist before he was a journalist and activist.  The poet touchingly explains that he “spent all night thinking about Radio Haïti-Inter” before setting pen to paper.

If the sun didn’t shine, plants would not give fruit

 If the rain didn’t fall, drought would never stop dancing,

If the rain didn’t fall, there would be no springs

Springs would not give rise to rivulets

Rivulets would not become streams

Streams would not become rivers,

Rivers would not become the sea…

Radio Haiti, you are the sea, we are the fish

If you were to dry up, we could not live.

Radio Haiti, you are our rain,

If you didn’t fall, we could not bloom…

Radio Haiti, be encouraged! Sow!  Plant!

God will bring it to fruition.

Let us weed, even if the thorns are many,

The pruning shears of the Holy Spirit will aid us always.

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“Ayiti Intè ou se manman liberasyon won” by Gueline Alexis. Radio Haiti Archive.

From “Haiti-Inter, You are the Mother of Liberation”:

Yes, you are the mother of liberation

Because when the children of your womb were suffering

You never closed your eyes to it

You stood bravely to defend the people

Just as a mother hen would do

If a vulture came to devour her children…

Now the idol of the Haitian people

Has returned to continue

The wonderful work it began

Beautiful mama, hold on tighter

Stronger – courage — never give up.

Post contributed by Laura Wagner, PhD, Radio Haiti Project Archivist. 

The Voices of Change project was made possible through a generous grant from the National Endowment of the Humanities.

The Noise in the Silence: Radio Haiti During the Coup Years

What can we learn from the gaps, absences, and silences in an archive?  What are the stories that are hidden between the lines?

From September 1991 to October 1994, Haiti was ruled by a military junta that overthrew the democratically-elected government only a few months after it came into power.  The military regime was a particularly unjust and brutal era in Haiti’s unjust and brutal history, in which dissidents, pro-democracy and human rights activists, and journalists were beaten, raped, imprisoned, and killed by military and paramilitary forces.  The politically-engaged poor were especially targeted, and subjected to physical and psychological terror.  The US responded by imposing a trade embargo on the de facto regime, in the hope that economic sanctions would force the coup leaders from power, but the embargo hurt the poorest and most marginalized Haitians the most.  Fearing political persecution and struggling under a suffocated economy, tens of thousands of people fled on boats seeking refuge in the United States.  Much as Reagan had done in the early 1980s, the Bush administration claimed that the Haitian refugees were not victims of human rights violations, and therefore the US would not grant them political asylum.  Many died at sea; others were incarcerated at detention camps at Guantanamo; most were repatriated to Haiti (where some were indeed killed for their politics).

Radio Haiti stopped broadcasting on October 4, 1991, five days after the coup d’état, after the military regime cracked down on independent media.  Soon after, Jean Dominique and Michèle Montas went into exile in New York for the second time.  The station did not open again until 1994.

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Jean Dominique uses his famous pipe to point to the bullet holes in the façade of the Radio Haiti building. Washington Post, October 25, 1991. Radio Haiti Collection, paper archive.

We have no tapes from that time, save one – a recording of the July 1993 meeting at Governors Island in New York, where US officials attempted to broker an agreement between deposed president Jean-Bertrand Aristide and junta leader Raoul Cédras.  When Radio Haiti was on the air, the paper materials reflect the audio materials: on-air scripts and journalists’ notes, and printed material from Haitian organizations.  By contrast, the paper archive contains no notes and no scripts from the coup years, except for Jean Dominique’s assiduously detailed handwritten chronology of the Governors Island meeting.

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The first page of Jean Dominique’s notes on the 1993 Governors Island meeting. Radio Haiti collection, paper archive.

But it is not a passive silence; it is a fraught and frustrated silence, an absence that draws attention to itself.  Radio Haiti’s paper archive gives us a glimpse of Jean Dominique’s experience of exile – of a time when he, like the Haitian masses, could not speak freely in his homeland; of a time before the Internet and long before social media, when reliable firsthand information coming from Haiti was scant, terrifying, and tragic.  For a Haitian in exile from Haiti, a journalist exiled from his microphone, the distance must have been unbearable.

The volume of secondary printed material from 1991 to 1994 testifies to an archive passionately and scrupulously amassed.  There are several fat, overstuffed folders filled with tightly-bound news clippings, most of them from American media – the New York Times, Newsweek, the Christian Science Monitor, the Washington Post the Nation.  We have several artifacts from the reliably nuanced and thoughtful New York Post.

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New York Post, October 6, 1991, Radio Haiti collection, paper archive.

There are also clippings from smaller publications, such as college newspapers and newspapers of the Haitian and Caribbean communities in New York.   There are in-depth articles, photo spreads, short op eds, brief marginal asides.  They were cut out of newspapers, mailed by friends and family (often with notes attached).  These articles detail the mounting violence in Haiti, the effects of the embargo, the plight of refugees at sea and incarcerated at Guantanamo, the Bush administration’s refusal to grant asylum, and pro-Aristide demonstrations in New York, Miami, Washington DC, and elsewhere.

The collection features some rather extraordinary documents. There is this acerbic fax from pro-democracy activist Antoine Izméry, dripping with unconcealed disdain, congratulating Bush on his loss in the 1992 presidential election.  “You failed all over,” Izméry declares.  He decries the Bush administration’s racism, hypocrisy, and self-interest and blames the US for engineering the 1991 coup, before wishing the departing president a “peaceful and repentant retirement.”

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Antoine Izméry’s fax to George H.W. Bush, November 4, 1992. Radio Haiti collection, paper archive.

Also in the archive is a copy of this press release from Father Gérard Jean-Juste, a liberation theology priest and prominent Aristide supporter.  Jean-Juste, “in hiding in Haiti,” refers to Bush’s “skinhead policy,” suggests that Bush’s sudden illness at a state dinner in Japan earlier that year was the result of a
“voodoo curse,” and implores him to “BE A GENUINE AMERICAN, Mr. BUSH.  Get your perceived KKK titles off.  Work your way to HEAVEN as being a christian.”

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Gérard Jean-Juste press release, November 3, 1992. Radio Haiti collection, paper archive

Haiti’s beleaguered pro-democracy movement was hopeful that the election of Bill Clinton would lead to more just and humane policies toward Haitian refugees and the restoration of the Aristide government.  But Clinton ultimately did little to improve conditions for Haitian refugees, and Aristide would not return to power until nearly two years later, after armed intervention by the United States.  By then, Antoine Izméry would be dead.  He was dragged from Sacre Coeur church by plainclothes police and shot dead in the street on September 11, 1993 in full view of parishioners and human rights observers attending a commemoration of the 1988 St. Jean Bosco massacre.

In late 1994, after Aristide was restored to power, Radio Haïti reopened.  The three years of radio silence were broken by a new series of jubilant jingles and slogans: Nou tounen!  Nou la pi rèd!  [We’re back!  We’re here stronger than ever!]  But the damage wrought by the coup years and the conditions of Aristide’s return was enduring; the pro-democracy movement would never again possess the same momentum or clear emancipatory promise that it had in 1991.

Post contributed by Laura Wagner, Ph.D.,  Radio Haiti Project Archivist. 

The Voices of Change project was made possible through a generous grant from the National Endowment of the Humanities.

Onè! Respè! (Honor! Respect!)

The Radio Haiti archive project is underway! We’ve spent the first couple weeks creating a behemoth database…

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…assigning each and every tape a unique ID number, and putting the tapes in nice new comfortable bar-coded boxes. This means that an archive which arrived looking like this…

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Radio Haiti boxes arrive in North Carolina after a long voyage

… now, happily, looks like this.

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AV archivist Craig Breaden with some newly-boxed Radio Haiti tapes

 

We are incredibly fortunate that the former Radio Haiti staff and friends and family in Port-au-Prince (you know who you are!) sent the tapes with a detailed inventory — it makes our job so much easier.

We are also inspecting the tapes for mold (and we have found mold aplenty).

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¼ inch tape with mold on it
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¼ inch tape with mold on it

 

We are also keeping track of which tapes are going to require a little extra TLC.

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We’re creating rather sweeping controlled vocabulary — describing subjects, names, and places that appear in the archive. Once we’ve put in all this metadata, we can send the more than 3500 tapes off to be cleaned and digitized.

These tasks (organizing, typing in data, cross-referencing, labeling, bar-coding, describing, mold-noting), while arguably unglamorous, are necessary groundwork for eventually making the recordings publicly accessible, ensuring that these tapes can speak again, and that Radyo Ayiti pap peri (Radio Haiti will never perish).

We’ve only listened to a small sampling of the recordings so far, but the tapes themselves, as physical objects, tell a story. Even the mold is part of the story. That white mold on the tapes and the dusty dark mildew on the tape boxes tell of the  Radio Haiti journalists’ multiple exiles during which the tapes remained in the tropics and the future of the station was uncertain.

To glance over the titles of the recordings — the labels on their spines, lined up in order, row upon row — is to chart the outline of late 20th century Haitian political history — a chronology of presidencies, coups, interventions, massacres, disappearances, and impunity. The eighty-nine tapes chronicling the Raboteau trial of 2000, in which former junta leaders were tried for the 1994 torture and massacre of civilians, take up an entire shelf.

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And then there is the long, long sequence of recordings after the April 3, 2000 assassination of Jean Dominique, when the center of the station’s orbit violently and irrevocably shifted.

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It is uncanny to look at the tapes with hindsight and see the patterns emerge. Here is the political landscape of Haiti, from the 1970s to the 2000s, from dictatorship to the democratic era: The same impunity, the same lies, the same corruption, the same suffering, the same mentalities, the same machinations. Chameleons change their color, oppressors repaint their faces, state-sanctioned killings become extrajudicial killings, and the poor generally come off the worst.

The journalists who did these reports and conducted these interviews experienced these events in real time. They could not yet know the whole story because, in each of these moments, they were in the middle of it. For them, the enthusiasm of 1986 (after Duvalier fell, and Radio Haiti’s staff returned from their first exile) and of 1994 (when Aristide was reinstated, and Radio Haiti’s staff returned from their second exile) was unfettered. Likewise, for them, the struggle against impunity and injustice was urgent.

There is a recording labeled “Justice Dossier Jando Blocage 4.9.01” — “Justice Jean Dominique case blocked investigation.” Those short words contain a saga: by September 2001, a year and a half after Jean Dominique and Jean-Claude Louissaint were murdered, Radio Haiti was already reporting on how the investigation had stalled. In 2001, perhaps, justice appeared attainable, just out of reach. Now, fourteen years later, the case remains unsolved.

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Back in 2011, I attended a talk by Haitian human rights activist Jean-Claude Bajeux in Port-au-Prince, where he said, “gen anpil fantòm kap sikile nan peyi a ki pa gen stati.” (“there are many ghosts wandering through this country that have no statue”). He was speaking of those who were disappeared under the Duvalier regime. But he could have been speaking, too, of innumerable others who have died and been erased – those who were killed by the earthquake, under the military regime, through direct political violence and through the structural violence of everyday oppression.

This archive is not a statue or a monument, but it is one place where the dead speak. Sometimes the controlled vocabulary feels like an inventory of ghosts.

Sometimes I think I am working on an archive that was never meant to be archived, something that was supposed to remain an active, living struggle. I think of how far these clean cardboard storage boxes and quiet temperature-controlled spaces are from the sting of tear gas, the stickiness of blood, the smell of burning tires, the crack of gunfire, the heat and noise, the laughter and fury of Haiti.

But salvaging and preserving are part of the struggle; remembering is, itself, a political act.

Post contributed by Laura Wagner, Radio Haiti Project Archivist.

The Voices of Change project was made possible through a generous grant from the National Endowment of the Humanities.

NEH grant will fund Voices of Change Project at the Rubenstein Library

The David M. Rubenstein Rare Book & Manuscript Library at Duke University has received a grant of $200,000 from the National Endowment for the Humanities to support Voices of Change: Preserving and Presenting Radio Haiti.  This two-year project, set to begin in July 2015, will preserve and make widely available the written- and spoken-word archives of Radio Haiti Inter, the country’s oracle of democracy from the late 1960s until its closure in 2003. The announcement of the award coincides with the fifteen year anniversary of the assassination of the station’s owner and Haiti’s most prominent journalist, Jean Dominique, and amidst continuing news coverage about the ongoing trial of his accused murderers.

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Jean Dominique and Michèle Montas at Radio Haiti Inter, 1995

 

The Human Rights Archive at the Rubenstein Library received the archives of Radio Haiti in late 2013 as a gift from Michèle Montas, the station’s co-anchor and widow of Dominique.  “To me, Duke University was the most welcoming environment for these unique archives, with knowledgeable teams of scholars and archivists able to preserve the past and help to use that recent past as a tool to re- imagine the future,” commented Montas about her decision to place the archives at Duke.

As evidenced in the more than 3,000 recordings and 70 linear feet of paper records comprising the collection, Radio Haiti distinguished itself from other media outlets in Haiti by covering not only events in Port-au-Prince but news from the rural areas of Haiti, including a grassroots democratic movement that eventually overthrew the Duvalier dictatorship in 1986. It was the first independent radio station in Haiti, and the first to broadcast in the language of the people, Haitian Creole, instead of the French spoken only by Haiti’s elite.

The collection is one of the most important and comprehensive resources available for studying and understanding the recent history of Haiti. Primary materials related to Haiti are relatively rare, and the archives of Radio Haiti are particularly distinct both for the depth and breadth of their coverage. According to Laurent Dubois, project advisor and Marcello Lotti Professor of Romance Studies and History at Duke, “The Radio Haiti Archives represent a tremendous resource for scholars, educators, and the general public interested in culture and politics in Haiti from the late 1970s to the present. Under the leadership of Jean Dominique and Michèle Montas, the station served as a critical voice for reportage, debate, editorials, and news for several decades.” Access to these important primary materials will allow scholars to write the history of the country in nuanced and participatory ways.

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As part of preparing the grant proposal, Library staff completed a pilot project cleaning and digitizing a selection of tapes from the Radio Haiti Archives.

 

Grant funding will support a full-time project archivist fluent in both Haitian Creole and French to oversee the arrangement, description, digitization and preservation of these materials. To support multilingual and international research, audio recordings will be described in French, Haitian Creole, and English, and will be made freely available online via Duke’s Digital Collections, the Digital Public Library of America, and the Digital Library of the Caribbean.

In order to promote easy access to these materials in Haiti, the Library will partner with the Forum for Scholars and Publics at Duke and FOKAL (La Fondation Connaissance et Liberté/Fondasyon Konesans Ak Libète), a community organization in Haiti, to place digital copies of the recordings in libraries throughout Haiti. The team will also explore creating podcasts from the recordings to allow for easier access in regions with intermittent internet connectivity.

The Radio Haiti collection is a singular resource supporting a nuanced and comprehensive understanding of the last 50 years’ of Haiti’s history. By preserving and making accessible these archives, Duke University Libraries seeks to advance the dialogue not only about Haiti’s past but also about its future.

Those interested in learning more about the archives of Radio Haiti are encouraged to visit the pilot site developed collaboratively between the Forum for Scholars and Publics and the Library at http://radiohaitilives.com/.   This site includes access in Creole and English to all the recordings reformatted as part of the planning phase of the grant.

Post contributed by Kat Stefko, Head of Technical Services. 

The Voices of Change project was made possible through a generous grant from the National Endowment of the Humanities.