Showing posts with label east harlem. Show all posts
Showing posts with label east harlem. Show all posts

Thursday, December 10, 2009

Harlem Hospital


The racialization of disease can be seen in the association between tuberculosis and the African-American community in Harlem in the early 1900s. The notions of racial inferiority and black susceptibility to disease, in particular Tuberculosis, an air-borne disease that more commonly affects the lungs, worked in ways that further marginalized and inflicted dangerous stereotypes. Prior to the discovery of the bacteria in 1882, tuberculosis was perceived to be a disease of the upper class. With the increasing understanding of the transmission of the disease, not only did the bacteria become stigmatized and feared but the person who carried the illness.[1] And along with this greater fear among the public, fueling racist thought and ideology, as a black physician states, there was "a malicious, unfavorable publicity...associated with tuberculosis among Negroes." In particular in Harlem, with the Great Migration of blacks to NYC, tuberculosis plagued the black community and the neighborhoods became a topic of racialized space and disease. The framing of the disease as a spot on a map paved the way for the Baltimore-inspired model of "Lung Block" interpretation of NYC blocks. [2] The issue of "Lung Block" is not unique to the African-American community in Harlem, as Hernnan Biggs points out the outbreak of disease and the issue of surveillance to the tenements in Lower Manhattan among European immigrants.[3] Dr. Samuel Roberts claims the process of representing a disease as a dot on a map "disassociates illness from [the] social process[es] that create health disparities."

Portraying the high level of prevalence of tuberculosis among the black community in Harlem as a public health phenomenon inherently aligned with racial susceptibility and personal behavior denies all structural and social processes. It takes the attention away from the real causes of proliferation of disease among a population. Poverty, residential segregation, and lack of adequate health care are at the root of the spread of disease among a community. Since tuberculosis is spread through close contact, residential segregation becomes a powerful institution in creating the ideal conditions of poverty that allow such dissemination of illness.

Harlem hospital as an institution, founded in 1887, is a site where the suffering of people with tuberculosis is strongly felt as it cared for a lot of the population in the community. The hospital also inspired collective activism in the fight against the disease, racism, and poverty. As the healthcare facilities during the 1900’s were fairly inadequate in serving the community, the hospital with just 150 beds in 1907 became known as “the Morgue.” As members of the community, such as social workers and physicians, joined together to fight the disease, a more inclusive goal to improve public health took over discourse of change. Groups such as the New York Tuberculosis Association and the Harlem Tuberculosis and Education Committee were formed. Today, Tuberculosis is mainly a disease that plagues the poor in developing countries. It is interesting to see how the disease remains one embedded in poverty, and how in other communities issues of housing and healthcare still apply.


- Olga Diaz and Elizabeth Perry


[1] Calhoon, Claudia Marie. "Tuberculosis, Race, and the Delivery of Health Care in Harlem, 1922-1939." Radical History Review 80, (2001): 101-19.

[2] Samuel Kelton Roberts, Jr. Infectious Fear: Politics, Disease, and the Health Effects of Segregation. Studies in Social Medicine. Chapel Hill: University of North Carolina Press, 2009.

[3] Biggs, Hermann M. "The Registration of Tuberculosis." Philadelphia Medical Journal 6, no. 22 (1900): 1023-29.

Wednesday, December 9, 2009

El Museo del Barrio


1230 Fifth Avenue. New York, NY.

Located in East Harlem, this museum was founded in 1969 by Puerto Rican educators and community activists. Dedicated to Puerto Rican, Latino, and Caribbean culture of the neighborhood, El Museo del Barrio aims to recognize these cultures and their contribution. (Souccar). Originally located in the classroom of an elementary school, it has grown in size and in influence. Now, located on Fifth Avenue, right across from Central Park, this one-floor museum boasts a 599 seat auditorium, gallery and exhibit spaces, as well as a gift shop and café. Besides temporary exhibits, El Museo del Barrio has a permanent collection of artifacts dating back as far as pre-Columbian times and includes pieces from Latin America and the Caribbean. Museum director Julián Zugazagoitia says, “We are sharing the best of our culture with Latinos and non-latinos. It generates pride among Latinos and it makes an understanding of our culture more pervasive among non-Latinos. Half of our audience is Latino and half non-Latino. Non-Latinos who come to El Museo, what they appreciate is that they discover an opening to the way Latinos deal with their past and present. We are joining together the Latino and non-Latino world” (Garcia). We chose this site because of its goal in pledging to aim for reform where inequality is practiced. We endeavor to document the development of this institution and examine the means by which they exist in the community.


El Museo del Barrio is dedicated to preserving and celebrating Puerto Rican, Caribbean, and all Latin American culture. One of the largest Latino communities in New York City exists in East Harlem, a neighborhood that has had considerable influence on the museum and its visions. East Harlem, known as “Spanish Harlem” or “El Barrio” is home to the largest population of Puerto Ricans in the United States. However, there have been recent initiatives to subject this neighborhood to processes of gentrification, or as most developers refer to it, “urban renewal”. This euphemism obscures the effect that such projects have on the neighborhood. The influx of more expensive real estate and redevelopment has brought in new residents such as young working professionals and college students. However, due to rising rent prices for many of the long-time residents of the neighborhood, such efforts of developers have been faced with opposition from the community (Davila).


In examining Spanish Harlem and El Museo del Barrio, it appears that one would not exist without the other. Discrimination of the community has made it apparent that an outlet was needed, through which their voices might be heard. The museum itself is supported by the community as a small reminder to the outside world of their presence and their culture. In viewing this site through the lens of the racialization of space and the spacialization of race, one sees the relevance of this neighborhood and institution to these larger themes. First, the essence of El Barrio existing as a predominantly Latino population, calls into question the traditional black/white binary that many scholars tend to apply when looking at space. Additionally, there are also many issues of inter-racial tension and class disparity when considering the effect that the real estate market has had on the neighborhood. It has not been unusual that many of the Puerto Rican children who have grown up in one of the numerous government housing projects, have grown up and achieved a higher level of income than their parents did. Consequentially, they have moved out of the projects and even the neighborhood itself, never to permanently reside there again. This creates a rapid cycle of disinvestment that has hurt the area to a large extent. However, some of the children who have become wealthier do return to start their own redeveloping firm that assists in the processes of gentrification. This neighborhood has been commonly marketed as a “gritty” area, one that has not lost its “cultural charm”, yet that is safe and family friendly. The adage “just enough culture” seems to pervade. The museum however, does not discriminate among Latino artists of various nationalities and beliefs. Instead it offers their artwork as homage to the Latino community as a whole and the belief that Latino culture has a richness to offer that is all its own.


- Titlayo Derricotte and Aubrey Markson


Sources


Davila, Arlene. Barrio Dreams: Puerto Ricans, Latinos, and the Neoliberal City. UC Press, Berkeley. 2004.


Garcia, Kimberly. "Cultura on Museum Mile." Hispanic 18.5 (2005): 36-7. OmniFile Full Text Mega. Web. 7 Dec. 2009.

Souccar, Miriam Kreinin. "El Barrio: left behind and angry." Crain's New York Business 19.2 (2003): 20. OmniFile Full Text Mega. Web. 7 Dec. 2009.

“Voces y Visiones: Highlights From El Museo Del Barrio’s Permanent Collection”.