Haitians and Black Americans have lived side by side in South Florida for decades. While the relationship between the two communities has not always been smooth, they have managed to coexist, “building families, businesses, churches, and communities that defied the odds,” according to Bart Mervil, CEO of My Urban Contemporary Experience (MUCE) and organizer of the “Joined at the Roots” exhibit, currently on view at the Little Haiti Cultural Complex through Saturday, Aug. 30.
The exhibition aims to shift public perception by exploring shared stories that connect Haitians and African Americans, emphasizing the historical and ongoing ties between the communities. It showcases the works of a diverse group of artists working across painting, sculpture, and photography.
“Joined at the Roots was born out of a need to honor the quiet, powerful history of solidarity between Haitians and African Americans,” says Mervil, describing a legacy often eclipsed by stories of division. He notes that while both communities have made significant contributions, their impact is rarely part of mainstream conversations.
“From local politics to high school championships to shared porches and block parties, we have had real moments of collaboration, unity, and brotherhood,” adds Mervil. “This hybrid culture did not just survive poverty. It gave rise to entrepreneurs, educators, artists, and a thriving Black middle class. This exhibition is a love letter to that shared struggle and success.”
According to Mervil, every artwork featured in the exhibition contains an element of the shared narrative of the two black communities in Miami.
Mervil explains that the exhibition highlights significant historical examples of collaboration between Haitians and African Americans in South Florida. “The first wave of Haitian immigrants were welcomed by Black churches; residents in Overtown opened their homes, shared meals, and offered resources,” says Mervil.
A central quote prominently displayed within the exhibition reads, “We’re either going to come together or we’re going to perish together.” Mervil describes this message as pivotal. “That quote hits deep because it’s not just a warning, it’s a truth. We chose it because it speaks to the heartbeat of the exhibition: We go together,” according to Mervil..
He continues, “There is no separation in this family. Haitian, Bahamian, African, Jamaican, African American, we are all branches from the same root. When we see ourselves as one body, one vision, imagine the power of our collective economics, our collective voice, our collective vote. We don’t rise until we rise together.”
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The idea for the exhibit began with a series of conversations with artists and community leaders about the underrepresented stories of cooperation between Haitian and African American residents in Miami.
Among the artists contributing to the exhibit is Fabienne Polycarpe, a first-generation Haitian American and cultural wellness curator. She contributed a series rooted in her upbringing around her mother’s beauty salon. Polycarpe’s art explores hair as a profound cultural symbol, reflecting both Haitian traditions and Black American influences.
“Hair has always been more than just hair; it’s been ritual, identity, memory, and survival,” says Polycarpe. As a child, she remembers how her Haitian mother instilled the importance of hairstyles that reflected discipline and respectability. “I wore ribbons and ‘boule gogo’ [braid balls]; my hair parted into clean plaits,” she says. “But deep down, I admired the colorful beads Black American girls wore.”
Over time, Polycarpe began to recognize how her artistic voice was influenced by both cultures. “And as I got older,” she adds, “I realized my artistic voice was formed by that dual gaze, the Haitian lens of structure and reverence, and the Black American lens of freedom, creativity, and expression.” Ultimately, she concludes, her art exists in the space where these two cultures meet, carrying the language of both traditions.
Another featured artist, Nate Dee, who grew up in Miami, presents a portrait of Uncle Al (Albert Leroy Moss), an African American DJ and community leader whose legacy helped bridge cultural gaps. Dee, a Haitian American muralist, recalls coming of age during a period when being Haitian carried social stigma. DJ Uncle Al’s visible support for the Haitian community left a lasting impression on him.
“I went to high school down here in the 1990s, and it was really rough to be Haitian, especially in the late 80s and early 90s,” Dee says. “So, to see a person like DJ Uncle Al, who wasn’t Haitian, showing love was big for me.”
Reflecting on those years, Dee adds, “As a teen I listened to his music and even grew up thinking he was a Haitian American DJ, only to find out later that he was in fact African American. This was in part because he was very active in Little Haiti.”
DJ Uncle Al, recalls Dee, founded the Peace in the Hood festival to bring together people from various neighborhoods and cultural backgrounds. His goal was to celebrate community and demonstrate that peaceful coexistence and mutual respect were possible and necessary. “He wanted to show that we have more in common than what differentiates us, that we are all truly the same. Just different branches from the same tree.”
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Artist Tawana Dixon contributed two pieces to the exhibition. One pays tribute to Arthur Teele, an African American political figure whose work helped lay the foundation for the Little Haiti Cultural Complex. The other captures the vibrant Haitian presence at the West Indian American Day Parade in Brooklyn.
“I ultimately chose to center the portrait around Teele because I wanted to explore the relationship between communities,” says Dixon, who was raised in New York and now resides in Miami. “In doing so, I hoped to honor the bond between Haitian and African American communities in a way that wasn’t too literal or expected.”
Reflecting on her second piece, Dixon says her New York upbringing made it essential to include Brooklyn’s Little Haiti in the show. “While Miami’s Little Haiti came first and is home to established institutions like the Cultural Complex, Brooklyn has the largest Haitian population in the U.S. and a community that has fought hard for recognition,” she says. She adds, “Haitians in New York were once seen as underdogs in the Caribbean community, but through resilience and pride, they’ve earned deep respect. Their presence, especially during the West Indian Day Parade, is powerful.”
Ruth Louissaint, an educator and Haitian artist, contributed a shrine centered around Dana A. Dorsey, Miami’s first Black millionaire. Her installation incorporates flags, religious symbols, and historical elements that reflect the intersection of culture and spirituality. “To me, the shrine embodies all three themes of the exhibition: identity, resistance, and unity,” says Louissaint.
Other artists in the exhibition also explore the emotional depth of blended identities. Joe Wesley’s photography captures moments of intimacy, pride, and joy between community members. Oscar Martinez sculpts a tribute to Dana A. Dorsey. Rico Melvin’s paintings evoke ancestral memory, while Rico Melvin’s textile art speaks in the quiet, powerful language of heritage passed down. The works of Edwaffle, Nica Sweet, and Anthony Lumpkin add layers of generational reflection, migration, and domestic life.
For Mervil, the exhibit reflects MUCE’s broader mission to preserve heritage while diversifying the artistic landscape in South Florida. “MUCE has always believed in bringing culture to the people, not keeping it hidden behind museum walls,” he says. “This exhibit lives right where it belongs: in the neighborhood, in the community, and in a space built for cultural expression.”
Beyond its artistic value, the exhibit aims to foster real-life conversations among community members and visitors alike.
Polycarpe says the community’s response has been emotional and affirming. “What I cherish most is when someone stands in front of my work, pauses, and says, ‘That’s my story,’” she explains.
Dee hopes younger generations inspired by his tribute to Uncle Al will learn about the DJ’s contributions. “I hope they explore his legacy and all of the positive impact he had on the Miami cultural scene,” he says. Louissaint echoes the sentiment, emphasizing the role of art in countering the divisiveness currently shaping American discourse. “We are currently in a strange time in the U.S. where much of the rhetoric is divisive. I think events like this are important and an act of resistance against this growing trend throughout the country.”
“Joined at the Roots” also acknowledges the evolving nature of cultural identity in cities like Miami, where gentrification and displacement threaten to erase long-standing community narratives. Artists like Polycarpe see their participation as a form of preservation, a way to anchor the stories of a vanishing neighborhood in memory and meaning.
“There’s a deep sense of loss, but also a sense of responsibility to share my stories of witnessing and experiencing the forever that are no longer ‘forevers’ but a love letter to Little Haiti,” Polycarpe says. “Being part of this exhibition is an honor. It feels like I am giving something back to the place that raised me.”
IF YOU GO
What: “Joined at the the Roots”
When: 9 a.m. to 9 p.m., Monday through Friday; Saturday and Sunday schedule may vary based on programming and events. Through Saturday, Aug 30.
Where: Little Haiti Cultural Complex, 212 NE 59th Terrace, Miami
Cost: Free
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