Arts Archives - The World from PRX
Arts Archives - The World from PRX

Arts Archives - The World from PRX

PRX

Overview
Episodes

Details

A daily public radio broadcast program and podcast from PRX and WGBH, hosted by Marco Werman

Recent Episodes

At a time of crisis for Haiti, a filmmaker reflects on past US intervention
MAR 16, 2026
At a time of crisis for Haiti, a filmmaker reflects on past US intervention
At the start of the 20th century, Haiti was in upheaval. A bit like today. There was a string of coups, and the one in 1915 was particularly bloody, ending with a murdered president being dragged through the streets. That’s when the United States went in and took over for 19 years. Alain Martin’s grandfather was born and raised during that occupation, but never spoke about it with his grandson. Martin came to the US as an adolescent, and after learning about the US occupation of Haiti in college, he decided to make a documentary about it. “The Forgotten Occupation” was screened at the Brooklyn Children’s Museum at an event hosted by Haiti Cultural Exchange.Amy Bracken/The World Martin called it “The Forgotten Occupation: Jim Crow goes to Haiti,” and framed it as a letter to his grandfather, Brunel. “Dear Papi,” the narration began, “I’m writing to let you know that I spent the last 10 years of my life making a movie about the US occupation of Haiti.” Martin describes his “Papi” as being part of a better-off class in Haiti, who had a certain disdain for the poorer majority.  As an adult, Brunel wasn’t alone in thinking Haiti would be better off if it came under US control again. Martin said he feels a little guilty about making the film. “This is a movie that’s going to be critical of the ideas you had about Haiti, about Haitians, about race, about class,” he said. “It’s going to be critical of the love affair that you had with the United States.” Reporter Amy Bracken interviews Alain Martin, director of “The Forgotten Occupation.”Courtesy of Alex Bershaw/@alexbershaw The film actually took more than a decade to make. Martin spent much of it interviewing historians, writers and activists, reading their books and poring over papers and film in archives. He learned about how, after the 1915 coup, the US moved into Haiti and stayed until 1934.  The ostensible reason was stabilization, but the film shows there was much more to it.  “The Monroe Doctrine claimed that the United States can intervene anywhere to maintain its own interests,” Simmons University’s Patrick Sylvain said. That was President Theodore Roosevelt’s aggressive interpretation of the Monroe Doctrine. It was adopted by his successors and used to justify military intervention in Haiti and other neighboring countries in the early 1900s. Some Haitians — especially those who were better-off — welcomed the Americans at first, thinking they would bring stability and protect Haitian business interests. But Martin said there was a history behind the unrest that the Americans couldn’t solve. Instead, they took advantage of it. “After slaves defeated Napoleon’s army in 1804, for France to acknowledge Haiti as a nation, it demanded that Haitians pay the slave masters they had defeated reparations,” he said. In short: “We fight; I kick your a–. I’ve got to give you money for losing.” To pay France, Haiti had to take out loans. By 1915, some 80% of the Haitian government’s budget was still going to foreign banks. As a result, Martin said, “there was very little money to develop the country, uplift the country, to invest in social programs, to invest in infrastructure. So, people were always upset, always rising up against the government.” Audience members watch the film, “The Forgotten Occupation,” which was screened at the Brooklyn Children’s Museum at an event hosted by Haiti Cultural Exchange.Amy Bracken/The World The US brought a form of stability, but in some ways, it also picked up where the French had left off. It took over Haiti’s finances, and National City Bank of New York — Citigroup’s predecessor — profited from its debt. In the film, Hans Schmidt, a historian who wrote a book on the US occupation of Haiti, described how the US controlled and depleted Haiti’s finances. “The US took over the customs receivership,” he explained. “They would collect all the revenues, and then hand them over, not to the government, but to pay off the debts first of the foreign investors, and if there was anything left over, then the government could have that.” The Marines even restored a form of slavery, in which poor Haitians were forced to work for free on infrastructure projects. Opportunities for exploitation kept growing. “[You] have more and more American companies who are interested in Haiti to invest in, especially in agriculture,” said University of Virginia Professor Laurent Dubois. “From these guys’ perspective, Haiti was essentially a place that was just waiting to be kind of taken over and turned to profit.” And that’s what happened when obstacles were removed. “What is inherently radical about the Haitian Constitution, about a Constitution made by formerly enslaved people?” Haitian journalist Nathalie Cerin asked in an interview with Martin. “Of course there will be things in there that go against imperialist interests.” Oberlin College Professor Yveline Alexis speaks in the film about the Cacos resistance fighters during the US occupation of Haiti.Courtesy of Alain Martin/The Forgotten Occupation The US forced changes to the Constitution, including its ban on foreign ownership of land.  Americans were now able to take over large swaths of the country, setting up plantations served by cheap local labor, and displacing thousands. Martin wanted to know — given the US’ history in Haiti — whether Haitians today would welcome the American military’s return, to stop the gangs. He called his friends and asked, with the violence gripping the country today, if the US should occupy Haiti again. He posed the question in various ways, pointing out to one friend that he wasn’t even able to attend his grandfather’s funeral.  A couple of them said no to a US invasion or occupation. Then one after another said yes, some emphatically.  Professor Sylvain explained that desperation erases memories of past wrongs. He used a Haitian expression, “Yo pran ou nan vant (They’ve got you by the belly)” to express how the one in power isn’t held accountable. “That’s what poverty does,” he said. “It erases dignity. You can’t stand up and say, ‘No.’” That is why, he said, the past US occupation of Haiti is now largely “forgotten.” Roxane Gay, a best-selling author, is the documentary’s executive producer. She said she knew nothing about this occupation before seeing a rough cut of the film — despite having Haitian parents and having written books about Haiti. Now, she thinks it’s out at the right time. “It feels prescient, and it feels in many ways like history could and might repeat itself,” she said. “And that’s always unfortunate when we recognize that not much has been learned.” The question of whether or not the US should invade Haiti again is abstract, given that the Trump administration has announced no such plans. The US presence is felt, however, in the deployment of gunboats to the bay of Port-au-Prince, as part of Operation Southern Spear, the US military buildup in the Caribbean.  When asked if he has any ideas of how the current crisis in Haiti could be resolved, Martin said he doesn’t, but there’s one thing he’s sure of: The United States will have to be involved in some way. The recent New York screening of his documentary was hosted by the nonprofit group Haiti Cultural Exchange at the Brooklyn Children’s Museum. The film will continue to be screened in the US, Canada and Haiti, and it’s now also available on streaming. The post At a time of crisis for Haiti, a filmmaker reflects on past US intervention appeared first on The World from PRX.
play-circle icon
-1 MIN
This tap dancer from Japan uses New York City landmarks as her backdrops
FEB 13, 2026
This tap dancer from Japan uses New York City landmarks as her backdrops
Emiko Nakagawa is a tap dancer from Japan who lives in New York. And she has an Instagram following that’s in the tens of thousands. There is a reason for that. Nakagawa’s exuberant, athletic videos show her dancing in front of major New York City landmarks, like the Brooklyn Bridge to music by Daft Punk, or in Times Square to music by Masego. Emiko Nakagawa, 28, from Tokyo has been tap dancing almost her entire life, starting from the age of six when she says she was immediately hooked.Courtesy of Sayaka Masumoto In a midtown Manhattan studio with mirrors and ballet barres, it took no time to get Nakagawa up and dancing. “Tap dance is my life,” Nakagawa said, laughing. The slim, energetic dancer sported a black turtleneck and gray cargo pants, and her feet created complex rhythms, in a way that seemed effortless. The 28-year-old from Tokyo has been tap dancing almost her entire life, starting when she was 6 years old. She said she was immediately hooked. “When I took the tap dance class for the first time I felt like ‘oh, it is very interesting,’” she recalled, “because I can create a rhythm by myself and I can introduce my own rhythm to the other people.” Nakagawa moved to New York in 2021 to study in the international program at the Broadway Dance Center, which is when she began creating short videos set to hip-hop and contemporary pop music in streets and parks around the city. “The speed and clarity of her footwork, of her choreography, is remarkable and fascinating. I mean, it draws you in,” said Ryan P. Casey, who profiled Emiko Nakagawa in Dance Magazine’s “25 Dancers to watch in 2026.” It’s a list of the 25 up and coming dancers to watch from the entire dance industry – including ballet, modern, Broadway – from all over the world. Emiko Nakagawa moved to New York in 2021 to study in the international program at the Broadway Dance Center, which is when she began creating short videos set to hip-hop and contemporary pop music in streets and parks around New York City.Courtesy of Sayaka Masumoto “She consistently churns out these speedy, intricate, mesmerizing videos, oftentimes on a small tap board, which is also intriguing because the limitation of space is such an interesting factor,” Casey added. Nakagawa creates this magic on a foldable wooden board, just a little bigger than a doormat. And the videos are shot from below, so viewers can see, not just her feet, but her whole body and her location. “I really love to show my people who follow me on my Instagram both the beautiful New York view and my tap dance style,” Nakagawa explained. She developed her style by studying traditional American tap dance techniques in Tokyo with a teacher who rigorously trained her. Her technique is unique because she knows old-style tap, but her choice of music and movement is contemporary. “I just want to do the street style to move a little bigger, like widely, with my tap dancing,” she explained. “I just want to combine hip-hop, like, street style and tap dancing. This is my style.” Her first Instagram hit was set to Eminem’s “Godzilla,” followed by dances to Kendrik Lamar, Michael Jackson and Diana Ross, among others.  “What I admire so much about Emiko at this point in her journey is she’s extremely technically capable, but she’s also very interested in style,” said Caleb Teicher, a Bessie Award-winning dancer. They first came across Emiko Nakagawa on Instagram — and have since become a mentor and collaborator. “She doesn’t just make a lot of sounds and those sounds aren’t just clean,” Teicher explained,“ but she is formulating a personal expression, a personal perspective through tap dance. When I see Emiko dance, I know it is Emiko dancing, even if I didn’t see her face or the outline of her body, I would know it’s her way of dancing.” She may be young, but Nakagawa has already danced with tap superstars like Michelle Dorrance, in places like the Joyce Theatre and Jacob’s Pillow. And she says she has big dreams: dancing on Broadway one day.  But she doesn’t want to stop there. “One of the biggest dreams for me is to be a bridge between other countries and Japan,” Nakagawa said, “because the Japanese tap dance community is very small, so it needs to be inspired by other countries’ artists. So, I really want to bring the tap dance spirit of New York.” Spirit is a word Emiko Nakagawa uses a lot. And it’s something she finds hard to contain. When she speaks, she is soft-spoken and still. But when she dances, she is electric. “She has a long journey ahead of her,” Teicher said. “She’s still quite young, and even though she’s done a lot and has amassed a great following and has some great credits to her name, she has a lot more she can do as a dancer and choreographer, a tap dance artist. So, I’m excited to see what she does.” The post This tap dancer from Japan uses New York City landmarks as her backdrops appeared first on The World from PRX.
play-circle icon
-1 MIN