The Caribbean Cultural Center: Mission, Activities and Highlights
Mission and Background
The Franklin H. Williams Caribbean Cultural Center/African Diaspora Institute, commonly known as the Caribbean Cultural Center, was conceived in 1976 by Marta Moreno Vega with the vision to create an international organization promoting and linking communities of African descendants wherever our communities are present. Dedicated to making visible to the populations of New York and our communities worldwide, the invisible history, culture, and welfare of peoples of African descent, the Center is based is New York City, but effectively works for the social, cultural, and economic equity of African Diaspora communities everywhere.
Founded by the renowned scholar, author of ’When the Spirits Dance Mambo’, and community leader Dr. Vega, the Center was instrumental in creating a foundation of aesthetic concepts, culturally-sensitive language, and advocacy models that have changed the way the our country looks at diversity. We are proud to say that with ownership of our Brownstone, featuring our International Gift Shop and Art Gallery; through multidisciplinary programs such as concerts, lectures, educational workshops, art exhibitions and conferences, today, it is one of the original African Diaspora cultural groups that has moved from strength to strength to become one of New York’s leading centers, continuing to welcome people of all descents into our rich cultural community.
As we look to the future, we must celebrate the continued contributions with art forms of the African Diaspora now receiving worldwide recognition. The work of the Caribbean Cultural Center continues to reflect the diversity that is the African Diaspora. Since 1976, our rich history reflects our ongoing commitment not only to share our wonderful cultural traditions to the world, but through the support of our communities, members and friends in the public/private sector, our aim is to ensure our creative inter-disciplinary programs, provide lasting multicultural educational curricula, powerful advocacy movements and ultimately ensure we form a healthy and strong Diaspora community in the 21st century. The Caribbean Cultural Center is an organization of the future as we train the next generation of leadership and nurture the development of cultural relevant organizations. Our mission is to continue to provide mentorship to the next generation of cultural, artistic and social justice supporters and organizations, that can serve the needs of our thousands of audience members and deepen our relationships with our associates in the public/private sector and corporate America
Accomplishments and Highlights
Many of our programs and events have represented important “firsts” for our community in terms of scale, quality, impact, and sheer producing skill. Some of our largest scale events, collectively attended by thousands of individuals, were:
Conferences:
The International Orisha Conferences in Nigeria (1986), Bahia-Brazil (1989), and New York City (1992). The bi-annual conference Cultural Diversity Based on Cultural Grounding (1992 -1998)
Exhibitions:
The multi-media exhibitions such as Transforming the Crown: African, Asian, and Caribbean Artists in Britain (1989-1990) and Indo-Caribbean Heritage: East Indians in Guyana, Trinidad, and Suriname (2001).
Concerts:
The Mighty Sparrow at Symphony Space (1982); Ladysmith Black Mambazo at The Apollo (1988); Celia Cruz Returns to Harlem at Abyssinian Baptist Church (1989); Sacred Drums (1990/91/92) and Gilberto Gil, Celia Cruz and Tito Puente (1990) at Riverside Church; Los Van Van/US return (1996); and The International Hip Hop Festival at the Bronx Museum as well as Lincoln Center Out of Doors (2001 and 2005)
Popular cultural events:
The International Expressions Festival (1977-2001); Carnival in New York (1984-1996); the annual Chango Celebration (1983 to present), the Tribute to Oya and Yemaya (1985-2004), and the Uprise and Shine: Stay in School Rallies.
The Center has worked with and formed ongoing relationships with Cultural Legends and Icons such as :
Performers: Celia Cruz, Tito Puente, Max Roach, Geri Allen, Mario Bauza, Pearl Primus and Katherine Dunham,
Visual Artists: Elizabeth Catlett, Pierre Verger, Carybe and Vanley Burke
Cultural Scholars and Historians: Rex Nettleford, Bernice Johnson Reagon, Carlos Moore, James Early, Espy Campbell and Quince Duncan.
Many of the Center’s programs have become influential movements that now have lives of their own. These include organizations, publications and project such as:
- The Global Afro Latino and Caribbean Initiative (GALCI), facilitates meetings with the World Bank, International Monetary Fund, and Congressional Black and Hispanic Caucus about cultural, civil, and land rights of African descendants in Latin America and the Caribbean.
- The Roundtable of Institutions of Color, now at New York University, analyzes funding and policy patterns of private and public sectors in regard to organizations of color.
- The Network of Cultural Centers of Color (NCCC) connects artists of color with international presenters and acting as a liaison and facilitator of international exchange between independent artists and communities around the globe.
- Voices from the Battlefront, a groundbreaking publication about achieving cultural equity, arose out of a series of international conferences hosted by the Center in 1993. The text is used as a reference by funders, educators, and UNESCO and IMF policy makers among others. Our 2004 Interlocking Movements conference, sponsored by the Rockefeller Brothers Foundation, carried on this work by creating a 21st century cultural equity agenda.
- When the Sprits Dance Mambo, a documentary film about the history and influence of Afro Cuban religions, continues to tour internationally and has broken new ground in educating our communities and bringing them together. Invited by dozens of film festivals and local communities throughout the U.S., Caribbean, and South America, the educational and public programs developed around the film have also garnered international acclaim.
