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Image Issue: The Refugee

Tariq Tarey is motivated by a simple, dual mission: That refugees are an asset to America—not a liability. And that most Americans don’t know when they’re looking at one. In fact, he often experiences it himself. He’s encountered many Columbus citizens who see the sharp-dressed photographer and his J.Crew-esque style, not the man who sought [...]
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Tariq Tarey is motivated by a simple, dual mission: That refugees are an asset to America—not a liability. And that most Americans don’t know when they’re looking at one. In fact, he often experiences it himself.

He’s encountered many Columbus citizens who see the sharp-dressed photographer and his J.Crew-esque style, not the man who sought refuge in the States from his war-torn home country of Somalia, and suffered through refugee camps along the way. Which, leads to the third part of his mission:

We are just like you.

“It’s easy to hate things that you don’t know. And what I want to do is show these new guests—people like me, people who have come as refugees—as humans, and share their stories with everybody,” he explained. “It’s hard to hate somebody you know on a personal level, so I just want to create a bridge between the communities—the guests and the hosts.”

In these uncertain times of human migration, Tarey’s work as a visual ethnographer is the perfect lead for our Image Issue. Shot on large format film stock, it’s permanent, real, and moving, and showcases the innate, basic power of photography— the way it equalizes, emotionally, people from all corners of the Earth.

What is it that truly drives you to do what you do? It’s like Obama said: “In no other country on Earth is my story possible.” We want to be part of a society and be integrated and own businesses and go to schools, go to universities, be part of the middle class. It’s almost impossible in many places on earth but America makes it possible for many refugees. What I want to capture is that story; I want to share it with the other Americans and also keep the stories for future generations.

How much did your motivation change in the aftermath of Trump’s victory? This has been brewing for a long time. Race and equality in America … [it’s] not something new. Yes, there is a lot of noise and there are a lot of people out right now, saying no to Muslims, saying no to others … no to Mexicans and so forth. I like to focus on the positive side of America, America that welcomes, America that gives opportunities to the new Americans that come, America that is tolerant to religion and peaceful. That is the America that I like to focus on right now. My work continues and the conversation continues about the true contribution of refugees when they first arrive to the United States. It’s to focus on the good and to keep the conversation very civil.

Why shoot film, and why large format? In the end of 2001, I walked into a camera shop called Midwest Photo Exchange and at that time there was a young man working there from Somalia. A refugee who was a photographer—is a photographer—and he handed me my first roll of film and ever since, I’ve been shooting film. I feel comfortable with it; I have a process in place, a workflow … also the longevity of film. Most of the stuff that I shoot is for archival purposes because, obviously, they’re part of an American story and I want to keep that for future generations.

Also, it slows me down. When I have my subject sitting before my camera, I like to engage, I like to talk, I like to have sort of a dialogue, an understanding, a mutual respect and, digital, as wonderful as it is, it seems to be a quick-fix. You shoot and it’s not in ones and zeros—it’s emotion, it’s silver, it’s organic. It’s something that you have captured as an artist and it’s hard to do that in digital, I believe. I shoot digital as well for other projects, but when it comes to the stories that I want to capture for future generations, definitely film is my go-to.

What are the misconceptions about refugees that are living in Columbus and the United States as a whole? I think the biggest one is the security, or the vetting process. Many refugees, like myself, went through an extreme vetting process and what that really means is that you go through questions about your birthplace, the reason why you’re a refugee, and so forth and so on. First, you get interviewed by the United Nations High Commissioner for Refugees, when you register as a refugee and they go through the background. Then, once you get processed, if you qualify for a third country resettlement, you go to Australia, Canada, or the United States. If you are selected to go to the United States, you go through several interagency questions. Some of these things are years apart. You know, first year, second year, third year, and then obviously fingerprints and then many many background checks. There are so many things they ask you about who you really are, and they do the background checks so anybody can’t just come in.

Most Americans can’t differentiate between the refugees you see in Columbus and the Florida nightclub shooter and the San Bernadino Californian shooters. First of all, the nightclub shooter was American-born, so it’s hard to safeguard [from] that, and the Californian shooters I think those came through a student visa—they didn’t come through the refugee process. So the notion that refugees are high-risk, it’s extremely, extremely, rare and almost non-existent. That’s one huge misconception.

The second one is that the cost to the America taxpayer is a ton of money. As soon as refugees arrive they receive an allowance of roughly $2,000 that pretty much covers their life to start—mattress, dishes, that kind of stuff. And they get cash assistance, about $250-$280/month per person for eight months. And if you don’t speak the language and you haven’t been trained in the American workforce, finding a job in eight months is extremely difficult.

The third one, that refugees take jobs from Americans. That’s actually not true. In Columbus alone, according to the Community Research Partners’ study they published in 2015, Columbus Ohio has 873 businesses that were created by refugees. And that’s job creation—not taking jobs, they’ve created jobs. The refugee spending power, what they spend in the economy in Columbus Ohio is $35.9 million per year. So the notion that refugees actually are not an asset to our community, and they are a liability, is absolutely false, every study after study will tell you. The median household income [for refugees] in 2015 was $42,000/year, and for American-born, it would be $51,000—not far off if you look at it. It’s a really huge misconception. Columbus, Ohio is a model of what refugees can do for a community—we build a community. The Northland Mall, as you recall about 15-20 years ago, was a very rough neighborhood and now that area neighborhoods they clean, they revitalise the neighborhood and it’s extremely important for the public to know that.

Now that everyone has a camera phone in their pocket, why is professional/traditional photography still important? I think democratization of art is something that is amazing, and I’m a true believer of giving everyone the same tool, in order for us to capture our own history and our own path. The difference is, instead of just photographing your family, your children, which is very important, my goal is to save the history of America today, so future generations, can access it in a very professional and intentional way. So, when I photograph a subject they usually are interviewed, and images are scanned and catalogued and saved. All those things in the future will give us a way of looking back and seeing the Bhutanese Nepali first generation, like the Irish who came here last turn of the century, or Italians, or other immigrants. So I think there’s a slight difference, although the tools might be the same or similar, the intentions are much deeper. It’s a way of saving history for all to access in the future.

Tarey is an award-winning documentarian, honored by the Columbus Museum of Art and the Ohio Arts Council, among many. This spring he will be launching a show at the Ohio Historical Center on the Bhutanese-Nepali people of Columbus. For more, visit tariqtarey.com.

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The local architecture firm who gave beautiful home to family in need

Mike Thomas

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Curt Moody knew he wanted to be an architect before he knew there was a name given to that particular career path. While enrolled in a middle-school industrial arts program, he discovered a love for drawing, but was less than taken with the rendering of machine parts that made up much of the curriculum.

“In the back of one of the books, there were houses,” Moody explains. “I asked my instructor if he’d allow me to draw those instead of what was normal for the class, and he said yes. That was when I knew I wanted to do buildings.”

Thanks to this gracious concession from his seventh-grade teacher, Moody had taken the first steps in what would be an accomplished career. Moody Nolan, the architecture firm that Moody would go on to found in 1982, is today a booming operation with offices throughout the country and an impressive list of awards and accolades to its name.

The successes enjoyed by Moody today are largely a result of opportunities available to him in his youth, and the fact that others may not be as privileged is not lost on him. Like many businesses that have achieved a certain status, Moody Nolan has engaged in the sort of philanthropic work that is expected of leaders in the community. 

In spite of years of time and energy spent giving to various causes and organizations, Moody couldn’t seem to shake the nagging sensation that he and his company could be doing more.

“There were so many golf outings and dinners that we participated in over the years, but if you asked us where did that money go,
we couldn’t tell you,” Moody says of the firm’s past charitable efforts. “We knew we were doing it for a good cause, but how can we do something better, using what we do? We are architects. We design buildings, we design houses—why can’t we use what we do to make something more permanent?”

Inspired to give back to the least advantaged members of society in a more tangible way, Moody and his associates conceived the Legacy Project. Designed to set an example to their peers in business and beyond, the project would begin with a single house, designed by Moody Nolan, to be given away to an underprivileged family at zero cost. 

“There are a whole lot of great programs out there when it comes to affordable housing, but the truth is there are not enough,” Moody explains of the issues central to the project. “There’s a problem that no one seems to know how to address: if you make $22,000 a year, what’s affordable [housing]? There’s nothing that you could purchase that is affordable when every bit of your income is going toward trying to just live.”

Its plan of action decided, Moody Nolan set aside 50% of its annual budget for giving to put toward the Legacy House. Moody reached out for donations from longstanding business partners, who donated time, funding, and building supplies to see the project through to completion. When all was said and done, the modern, fully-furnished 700-square-foot home included everything a family starting from scratch would need, from linens to cabinets fully stocked with food. 

Thanks to a land donation from The Columbus Metropolitan Housing Authority, Moody Nolan decided to place the home in Columbus’ Linden neighborhood. Having previously designed a community recreation center in the area, Moody and his associates were already well aware of the challenges faced by this economically disadvantaged community, and knew that it could benefit from the positive exposure.

When it came to finding a family in need to receive the home, Moody looked to YMCA of Central Ohio and Southeast Inc. to help navigate a list of potential candidates. 

“[Curt] really wanted a family that was currently experiencing homelessness. This would be a new start, a new beginning for a family that was in about the most vulnerable state that you could possibly be in as a human—which is without a home,” says Sue Darby, the Senior Vice President of Housing for the downtown Columbus YMCA. 

While the family who was ultimately chosen has asked to remain anonymous, Darby describes them as a very young family experiencing homelessness for the first time after a series of unfortunate life events.    

“I think what compelled us the most through the interview process was their determination, always putting the children first in every decision,” 

Darby says of the family. “With the legacy house, you’re just really hopeful that the poverty cycle for at least this family has now been broken.”

While the Legacy Project has made an immeasurable difference in the lives of one family, the realities of homelessness continue to pose significant challenges to communities in Central Ohio and beyond.

Moody and his partners hope that the greatest impact of the Legacy Project will be found in its example, and encourage others with the means to do so to undertake similar projects.

“I admire Moody Nolan for what they did, and I encourage other companies and individuals to take this same challenge, and to build new or revamp some areas that could be used for individuals who are in this kind of crisis,” says Darby. “Right now at Van Buren [shelter] we have over 80 families every night that come through our doors who are experiencing this tragedy. Affordable housing is the number-one issue. It’s not rocket science—housing ends homelessness.”

Moody Nolan plans to build other homes in the communities it serves. For more inforation, visit moodynolan.com

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The Interview: Wil Haygood

Author / Journalist / Curator Everyone loves an underdog. And in our interview, celebrated Columbus author Wil Haygood referenced many feel-good sports stories woven into the fabric of American culture. From Remember the Titans, to Hoosiers and Friday Night Lights, he maintains that the feat accomplished at East High during the 1968-69 school year, in [...]
Kevin J. Elliott

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Author / Journalist / Curator

Everyone loves an underdog. And in our interview, celebrated Columbus author Wil Haygood referenced many feel-good sports stories woven into the fabric of American culture. From Remember the Titans, to Hoosiers and Friday Night Lights, he maintains that the feat accomplished at East High during the 1968-69 school year, in which the Tigers won championships in basketball and baseball 55 days apart, eclipses them all.“I would never like to be called an activist,” says Wil Haygood when asked if he might consider himself such. “That’s not my game. I’m here just to find a good story. It’s my calling to be objective. I could never just tell one side of the story.”Yet, in reading his latest book, Tigerland, and immersing the reader in the strife East High faced in the wake of the assassinations of MLK and RFK, the “feel-good” triumph of two championships takes on a higher purpose. There’s so much more to the story. It’s the tale of a segregated city getting its first African-American principal in Jack Gibbs. Of the white basketball coach Bob Hart, choosing to settle in an East side neighborhood he was warned against. The players, and mothers of players, who persevered in the newly developed housing projects despite overwhelming odds. Haygood may not want the title activist, but Tigerland could easily serve as guide in how to counter civil unrest, especially now, fifty years removed.That objective journalism is becoming more of a rarity is troubling. Haygood’s storytelling is a resistance, and in Tigerland it’s a redemption story brought “from the shadows” that is uniquely complex and distinctly of Columbus. He insists there are many more stories of Tigerland’s ilk which must be exposed. The uncovering of a zeitgeist forgotten is a theme consistent with Haygood’s recent curation of the Harlem Renaissance exhibit at the Columbus Museum of Art. In I, Too, Sing America (also an award-winning art book), he chose to spotlight lesser-known writers and artists of the era that continue to play “an enduring role in moving us forward.” How that dais influenced the cultural rise of African-Americans in the Mt. Vernon neighborhood where the sub-plots in Tigerland play out, is palpable in Haygood’s words.In talking with Haygood, he’s acutely aware of how Tigerland’s legacy and the continued re-awakening of the Harlem Renaissance add to the social discourse that accumulates to this day. Our interview here is abridged, if only because we spent a taut 45 minutes veering down rabbit holes created by the vivid representation Haygood paints of Columbus, Ohio in 1968. Fortunately, it’s a conversation that has and could last for generations.In an interview you talked about Tigerland not being the story “you were born to write, but a story that the rest of the world needed to hear.” Why is this now such an important story?Wil Haygood: When I traveled around the country, to about 25 different cities talking about this book, people constantly asked me if the release of Tigerland was intentional given how timely the story was. It just happened that it was the 50th anniversary of the famous Olympic protests by Tommie Smith and John Carlos, the Colin Kaepernick narrative was playing out, the President of the United States was attacking black athletes for their social activism—these were the things on the mind of so many people on this tour. Of course, I didn’t time it, but this story is just so topical, it’s so rich with drama, it just calls for very enlightening conversations with the people I met across the country.I love it for the locality, and learning about a Columbus I never knew existed. So I’m curious to know if the heroes in this book, Bob Hart (East’s white football coach), Jack Gibbs (East’s first black principal), and the Tiger athletes, have always been heroes in your eyes, especially growing up? Did Columbus, en masse, know the history being made on the East side of town? WH: The city was so segregated that it was hard to give the East side its proper due. A figure like Jack Gibbs—he’s someone who you can almost make a movie about his life. It took so much perseverance and so much focus for the student body of East High to do what they did in that 1968-69 calendar year that I thank the literary gods for the foresight to return to my hometown and pull this story together. Frankly I kept waiting for this to be written by someone else, given the amount of high school sports stories that are on the shelf. I’m not trying to rate this story against any of the others, but I do think that it’s a book with a sports theme. It’s also a book that’s about far more than sports.Was this your favorite book to write?WH: That’s a tough question, but here’s how I’ll answer. As a little boy, I lived in the North side of the city. When I lived there East High was a mythical place and I had never laid eyes on that school. But I knew about it because it seemed to be this spiritual epicenter of the East side. It was where you had a lot of black teachers, an all-black student body. Your uncles, aunts, and cousins would always be talking about East High School. It constantly grew in my little boy mind. I lived within walking distance of the Ohio State Fairgrounds, so I would always beg my mother to let me go watch the team play. You had to be there. It was a lot wrapped up inside of me as I approached this book, because in a real way I was writing about my heroes. I’m sure that my history and emotions played a part in me wanting to do this book. What memories do you have of Columbus during that time, that reminds you that no place was isolated from the racial and social unrest of the events of that era?WH: In the summer of 1968, the very summer of after Martin Luther King’s assassination, my mother moved her five children to the Bolivar Arms housing project. Within weeks of moving there, there were riots on Mt. Vernon [Avenue]. I, as a 13 year old boy, saw National Guard tanks right through my screen door. It was a very frightening summer for me to wrapped up in that racial turmoil. I did not know that urban unrest on the North side of town. That street was integrated, our neighbors were white. Then I was thrust into this community on the East side that was feeling pain—the pain of a lack of good housing, a lack of jobs. The whole environment of urban America was set right outside of my front door.How much do you think Columbus has progressed since the time of Tigerland in accepting inclusion and fostering growth in underprivileged neighborhoods like the East side?WH: There has been a lot of maturity and growth in this city. I’m very proud of a lot of things that have happened. There is no big city in this country right now that doesn’t have social problems, but I think Columbus has done a much better job than some cities certainly in creating a peaceful dialogue over the years. I think that there have been stories that haven’t been championed as much as they should have. There is a gap in what the young people of Columbus know about the city’s past. Another fact from the book is that during that school year in 1969, East High sent more kids to college than they ever had before. Those are stories people need to know.As a teacher of many students who come from broken homes and neighborhoods, I’d love to know what advice you give to young people?WH: Since the release of the book I’ve spoken to Somali students in St. Paul, Minnesota, to white students in rural Maryland, black students in Dayton, Ohio. I tell students that on their darkest day, on that day when they feel like the world is not loving them enough, that they need only to take inspiration from these East High Tiger athletes. Eight of the twelve basketball players’ mothers worked as maids, many of them did not have fathers living in the home, two of them had fathers in jail, and none of them were born with a silver spoon in their mouth. But what pushed them and helped them succeed was a championship attitude before they dribbled a basketball or swung a baseball bat. They knew they wanted to be successful. They can lean into this story and they can rise up. Sports is a very gentle way to open the door to talk about poverty, racism, and sexism. You want to hear about how the winners won and how the losers dealt with losing.Wil Haygood will be the first featured speaker of the Columbus Metropolitan Library’s Carnegie Author series on Jan. 27th. Register for free at Eventbrite.com.
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Remembering Chris Bradley

What will be the job of a meteorologist in heaven? I’m not sure if I think of heaven as a place of eternally ideal weather, but I do think of it as a place of purpose. There’s a job for everyone in heaven. When I first met Chris Bradley, I didn’t know who he was. [...]
Laura Dachenbach

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What will be the job of a meteorologist in heaven?I’m not sure if I think of heaven as a place of eternally ideal weather, but I do think of it as a place of purpose. There’s a job for everyone in heaven.When I first met Chris Bradley, I didn’t know who he was. I was new to King Avenue United Methodist Church, and Chris was just a nice guy corralling his young son in the milling area, which was full of other people I didn’t know. He was the dad that everyone wanted, standing with a watchful and proud eye and who was always ready for a hug and kiss. Such a stunning smile, I thought. Almost like a trademark. He was the friend everyone wanted to be with, adding a buoyancy, an accessibility, a welcomeness to the conversation. Sharp ties. This guy’s got some sharp ties. The more I observed, the more I wondered. Somehow, he seemed like someone I knew, or should know. One day, I decided to engage Chris in the only awkward conversation I knew him to have.“So what do you do?”“The weather on Channel 10.”The dots started to connect. My face became warm. I started wearing hats and sunglasses and avoiding Chris for a couple weeks, hoping he’d forget me. But that wasn’t possible with the gregarious Bradley-Krausses, and eventually I grew to know and adore this charming and very musical bunch: Chris (who was an adopted child) his husband Jason, and their two adopted children Spencer and Maria—four people connected not by blood, but by their love for each other. The Bradley-Krausses became activists simply by being a family and living out their love for each other and their community with endearing authenticity, creating bonds that have extended beyond the loss of a family member.In their dying, some people give the rest of us life because they illuminate what life should be about. Chris Bradley’s death from an aggressive form of acute myeloid leukemia was one of those moments. We can sometimes strangely forget the worthiness of our own lives—the reality that life is indeed more than existence and schedules and tasks. Chris fought for his life because he knew life was worth living. And we should also fight every day for this rare and precious privilege to be alive: to understand all that we can, say all that we can, and be all that we can for however long we are called to do so. Life itself is a terminal illness, and once in a while we are granted a remission from that affliction in being allowed to witness a soul such as Chris love life so much that we cannot help but fall in love with it again.Weather is defined as an “act of God” because it is completely out of our control. Death is also out of our control. Both tend to depress people. I imagine the great faith in God Chris maintained throughout his life and illness is why he could confront both these inevitabilities with awe, never letting either of them overwhelm him, make him become bitter, or lessen his spirit.Weather is what makes our planet alive. Chris is now a part of the rain that will nourish the beloved gardens around his home. He is part of the sunshine that will smile on his husband and children. He’ll be in the iridescence of every rainbow we post on Instagram and part of the joy of every Columbus kid’s snow day. Each time we marvel at the mercurial, if not downright wacky amalgamation of temperature and precipitation that is Columbus weather, we will remember our Chris Bradley.Welcome to the incredible green screen of heaven Chris. You’ve still got a job, we’re still watching, and I have my derecho plan. Thanks for that.Donations in the memory of Chris Bradley can be made to The Columbus Foundation. Visit columbusfoundation.org/fund/bradley/3730.
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