Sparking transformation through art with youth and communities affected by war
A collective vision for a better future
War has vast reverberating effects, from individual traumas to societal breakdown. We work with communities hurt by the violence of war, honoring their lived experiences to realize their collective vision of a better future.
The public murals created during our projects are a platform for the youth and local leaders to express their ideas and hopes for themselves and the larger community.
We put girls at the center of our work, recognizing their essential role as anchors and changemakers in their communities. Our programs awaken capabilities in the youth, equipping them with internal resources to help them better handle adversity and advocate for themselves as they go through life.
In our Goma, Democratic Republic of Congo program, adolescent girls are effecting positive change for themselves and their community in pursuit of equality and freedom from violence.
Sparking transformation through art with youth and communities affected by war
A collective vision for a better future
War has vast reverberating effects, from individual traumas to societal breakdown. We work with communities hurt by the violence of war, honoring their lived experiences to realize their collective vision of a better future.
The public murals created during our projects are a platform for the youth and local leaders to express their ideas and hopes for themselves and the larger community.
We put girls at the center of our work, recognizing their essential role as anchors and changemakers in their communities. Our programs awaken capabilities in the youth, equipping them with internal resources to help them better handle adversity and advocate for themselves as they go through life.
In our Goma, Democratic Republic of Congo program, adolescent girls are effecting positive change for themselves and their community in pursuit of equality and freedom from violence.
Each participant engages in arts and life skills training for
Healing: Girls process and represent their emotions and thoughts, and reconnect with their bodies improving their mental health.
Developing high self-efficacy and capabilities: Girls are more resilient in the face of hardship, motivated to effect change, and able to imagine new possibilities beyond gender norms including economic opportunities.
“I feel that there is something new that has been born in me, because now when I go out to the streets, everyone looks at me. People are surprised to see a woman painter. And when I work, I climb very high on the ladder. No one else can do that if they haven’t overcome fear.”
Esther
Tunaweza Portraits Participant
Relationships
Participants connect with others resulting in increased
Social Capital & Competence: Girls learn how to build and manage relationships, and navigate social situations in constructive ways. Peer-to-peer, and mentorship relationships have proven particularly effective.
Solidarity: Girls experience trust and a sense of belonging and pride through shared values, responsibilities and interests.
Issa, age 17 in front of the Education Mural, Goudoubo Refugee Camp, Burkina Faso, June 2014
Before [the project] I was afraid of the other ethnicities, to be together with them. But attending the class changed me, now I understand them and can work together with them. And they understand me better too.
Issa
Goudoubo Project Participant
Community
Local leaders and community organizations collaborate as key agents of change in all program elements including the creation of large scale public art resulting in increased
Skills and leadership capabilities: Community members sustain the learning and replicate the learnings and outcomes.
Representation: Community members advocate for themselves and others through public art and foster collective action.
Safer and enriched public spaces: murals and posters create an enhanced environment for the community to gather, trade, collectively organize and more.
These murals and messages, they help make sure that girls are listened to when they don’t have sufficient voice within society. They make people think twice about what they think they know about girls, and what they are capable of doing.
Community Stakeholder
Tunaweza Portraits Project
This project was an example for all the partner (organizations), and for the community, because it has shown that with will power anything is possible
Muphtah
Community Leader
Society
Societies benefit from the art imagery and project leadership shifting perspectives and narratives on
Equality: Citizens change dominant narratives related to gender, racial and ethnic equality such as the roles of women as leaders and workers.
The environment: Citizens value local knowledge, capabilities and their identity.
Their future: Citizens envision a different and positive reality. They recognize girls’ value and contribution in society.
I am touched because I didn’t know our youth were capable of doing all of that.
Alassane
Goudoubo Refugee Camp community leader
International
Colors of Connection belongs to a global community of practice to share learning, methodologies and stories to improve the well-being of girls and their communities.
COVID-19 UPDATE
To protect the safety of our collaborating team in Goma and our Colors of Connection staff, certain activities are on hold until it is safe to resume. All trips to Goma have been postponed which means that the collaborative program design activities scheduled for March and April are currently on hold
Women are the Pillars of Education in Society mural, created in the neighborhood of Mugunga by young women of the Tunaweza Portraits Project, Goma, Democratic Republic of the Congo, April 2019.
This mural portrays the woman in the important role of creator, nurturer and educator of society. While the other murals from the Tunaweza Portraits promote women entering new roles in society in a more modern vision, this one celebrates a role that women have traditionally held in society. This mural recognizes her essential contributions to the survival and development of the community. Lengthy discussions about this topic were held with community leaders and the participants, revealing that this particular role of women is highly valued by everyone in society. The Community Arts Council decided to portray this positive and invaluable role that is ancient as time and relevant as ever.
Because this mural was painted on a health center, the theme focuses on how women accomplish this in the health arena. On the right, community members, including women, clean their streets and neighborhoods. Women in society ensure that their families and communities are kept clean and free from disease. On the left, a female doctor cares for a child. Here, while the image promotes women in more advanced careers, it also portrays the woman as a nurturer and caretaker. Written in Kiswahili are the words “Mwanamke msingi wa maadibisho,” meaning, “women are the pillars of education in society.”
Female Judge Mural, created in the neighborhood of Murara by young women of the Tunaweza Portraits Project, Goma, Democratic Republic of the Congo, April 2019.
This mural portrays a female judge in a portrait on the right, and hearing a case in a short comic-style story-telling on the left. In the middle of the mural is the DRC Constitution, Article 14. Written into law in 2015, Article 14 asserts the Country’s commitment to gender equality, including preventing gender discrimination, promoting women’s participation in national development, and fair and equal representation in government at national and regional and local levels.
This mural portrays several intertwining stories on gender: A real resident female judge in Goma is portrayed because, while women do have jobs within the justice system in DRC, being a female judge, one of the higher positions, is very rare. Written in Kiswahili are the words “Mwanamke katika ngazi zote za sheria,” meaning, “Women belong in all levels of the justice system.”
On the left side of the mural this same female judge hears the case of a woman. The specifics of the case are not detailed but what is evident is that a woman is able to have her case heard, wins it, and this results in the imprisonment of a man. This scenario was chosen to encourage women and girls to come forward and seek justice in cases of abuse, sexual violence, and gender discrimination. The mural is painted on the outside of an elementary and secondary school.
Female Construction Workers Mural, created in the neighborhood of Kyeshero by young women of the Tunaweza Portraits Project, Goma, Democratic Republic of the Congo, April 2019.
Women and girls in Congolese society are tasked with many tough jobs, from hauling water and firewood to hand washing clothes. However, some labor intensive jobs have not yet achieved gender parity, as with the case of construction work.
This mural portrays two women working with one male construction worker and the simple phrase in Kiswahili “Ndio na weza Jenga,” meaning, “Yes I can build.” The mural was painted in Kyeshero neighborhood, on the side of an old facility that hosts a coffee roasting factory as well as an engineering training center for both young men and women. The Community Arts Council specifically wanted to portray women in unconventional jobs such as this one that displayed their physical strength.
The Female Artist Mural, created in the neighborhood of Mapendo by young women of the Tunaweza Portraits Project, Goma, Democratic Republic of the Congo, April 2019
Female painters and visual artists are few and far between in the Eastern Congo region. In line with the Tunaweza Portraits’ central goal to challenge gender stereotypes, this mural portrays a female artist, along with the words in Kiswahili “Kubali ujuzi wangu,” meaning, “Consider my talents.”
The center portrait is based off of a photograph of one of the young women artists who painted this mural, Alice. The motifs to her left and right have been designed and created by the participants with inspiration and guidance from a local artist, Justin Kasereka. On the left side of the portrait, the young woman artist appears again, portrayed at work on a canvas in which the flowers grow off the page.
The Community Arts Council selected the neighborhood of Mapendo as the location for this mural because it is a commercial district with a lot of business activity. While there is a healthy level of commerce, the Council wanted to encourage young women in this area to expand their efforts into the creative field, noting that there was a lot of untapped talent. The Community Arts Council also noted that many young women and girls in the neighborhood are in vulnerable situations and could benefit from positive encouragement. The mural is located in a busy and frequently-trafficked crossroads.
The Peaceful Cohabitation Mural, created on a wall of the Community Center by the youth of Goudoubo Refugee Camp during the Energizing Goudoubo Refugee Community Through Art Project, Burkina Faso, June 2014.
Given the violence that engulfed Northern Mali and drove the refugees out of their homes, it is easy to understand the reason why the community leaders chose peace as the theme for the second mural. Although the conflict is often simplified to portray a conflict between the southern and northern ethnicities, as well as between the dominant darker skinned tribes versus the lighter skinned Touaregs, it is complex, with violence being perpetrated by all sides, and mutable and complicated allegiances to religion, politics, ethnicities, etc. Although all of the families in the camp had been forced to leave their homes and were equal in terms of the loss and trauma they had suffered, there were many prejudices and conflicts among the ethnic groups in the camp as well. The leaders therefore wanted to portray a message of peace that would serve to bring the community together. The mural unifies multiple ideas provided by the community arts council on what peaceful cohabitation between different ethnic groups in Mali looks like.
Different ways of showing hospitality to strangers and celebrating together are shown: In the center is a celebration attended by people of different ethnic groups including the White and Black Touareg, Arab, Peuhl and Songrhaï. Photographs were taken at a marriage celebration in the camp and the griot playing music, as well as the two women dancing in the center, are based on these photographs. In the upper part of the mural a father and son slaughter a goat to prepare food for an honored guest, two men shake hands as a sign of friendship and peace, and one man prepares tea for another man, also indicating friendship and peace. On the lower part of the mural a camel race is taking place, showing that the community is at peace and able to have festive activities. Camel races are an important tradition for this community.
On the upper part of the mural, village life is shown with different types of houses built by the different ethnic groups. On the left are Touareg and Arab houses, in the center are Peuhl houses, and on the right are Songrhaï houses.
Throughout the upper part of the mural the Touareg, Arab, Peuhl and Songrhaï are shown doing work within a diverse community that is typical to their ethnic group. The Touareg milk a camel, the Peuhl herd cattle, the Songrhaï cultivate the land, the Arab sells goods from a shop, and women from the different ethnic groups return together to the village with water from a pump.
A poem about peaceful cohabitation was written in Arabic specifically for the mural by Sidi Hamd Ag Mohamed Ahmed, a Touareg poet in the camp. The complete poem was written on the mural in Tamacheck, the dominant language in the Camp, with excerpts included in French, Songrhaï, Arab and Peuhl. It is translated here in English.
They are the people of the land, no matter the different languages they speak. Social cohesion and agreement is the remedy against all their ills.
Reconciliation is a solution in the case of an injury, especially with everything is broken. If the people are in solidarity, they will live happily one day and they will be the pillars of the land as a result of their contributions.
The Importance of Education Mural, created on a kindergarten building by youth of Mentao Refugee Camp during the Energizing Mentao Refugee Community Through Art Project, Burkina Faso, February 2014.
The Importance of Education Mural depicts the following:
All three types of education, classic, Koranic and basic literacy: for the Koranic school a marabou teaching children in front of a mosque is depicted, for basic literacy a teacher teaching a student the alphabet and mathematics in front of a blackboard, for the classic education children arriving at a school.
To show an example of a type of work one could have with education the mural depicts a doctor in the process of caring for a patient.
To show a community governing itself the mural depicts a leader giving a speech.
To show the equal opportunity of women to education, a women is depicted bringing both her son and daughter to a school.
To show a women successful in her commerce activities as a result of her education a woman is depicted selling artisan wares with a recording book that she is able to write in.
The Tamacheck saying “Ignorance is a sickness” is written in French, Tamacheck, Peul, Tifinagh (ancient Tamacheck), and Arabic on the mural.
The Health Mural, created on the fence outside of the city hospital along a main road by youth participants during the Visions of Hope Project, Harper City, Liberia, July 2011.
The purpose of the Health Mural is to show a healthy community in Harper. Malaria, typhoid and diarrhea are common illness in Liberia. There is a lack of latrines within the communities and people use the beaches that border Harper for this purpose. Another common health concern is malnutrition. A typical diet consists of white rice or cassava with a spicy pepper and palm oil sauce that may contain limited vegetables, meat or fish. Many adults struggle to provide sufficient amounts of food for their families.
The local Community Arts Council came up with the health theme. Students working on this mural were asked to identify what needs to change to overcome these life-threatening illnesses. Ideas included washing hands, using latrines, creating protected wells to prevent pollution, draining flooded areas to stop mosquitoes from breeding, sleeping under mosquito nets, and growing vegetables.
The mural shows different practices that will prevent sickness.
On the far left there is a woman and a boy who are eating a balanced meal and who have a covered bottle of water because safe water practices are really important for health.
Next to them is a man who is sweeping to represent keeping the area where you’re living clean.
Then we have a man who’s washing his hands after he’s used the bathroom.
At the top center is a woman who’s taking water from a fenced in pump. The fence is important to show that the pump is protected from animals and the germs they would bring. She isn’t wearing shoes to show that taking off one’s shoes is a good practice to avoid contamination when you’re drawing water from the pump. The woman has a container that she can cover after she takes the water.
There is a girl jumping rope who is “taking exercise”, as they say in Harper, to indicate exercising to stay healthy.
On the right side of the mural is a boy who is fertilizing plants to represent growing nutritious food as a way to be healthy.
The far right depicts a functioning hospital and below that is a woman sleeping in a mosquito net to prevent malaria.
The Market Mural, created on the front of the main city market building by youth participants in the Visions of Hope Project, Harper City, Liberia, July 2011.
The market mural was created to emphasize the importance of agriculture in the development of the city of Harper and Maryland County, where Harper is situated. The soil in Liberia is extremely fertile, with the capacity to grow many foods, yet there is a myth that food cannot grow in Maryland County, which has left much of the land unused. The type of foods that are grown are extremely limited, and many foods are imported from the Ivory Coast that could easily be grown in the region.
In designing the market mural, students were asked to imagine what would be needed to create a thriving market in Harper.
On the far left there is a woman and a man who are in a field growing food that will eventually be brought to the market. Next to them is a boy who is carrying all this produce that’s been grown in the fields on a road that leads to the market.
In the middle there are figures coming from the market. There’s a woman with a basket on her head with the produce she’s bought. There’s a woman has a bunch of potato greens in her arms together with her child.
On the top middle [of the mural] is the main market woman. She represents all the women who work in the market and she’s showing what she has to offer which is a papaya and a pineapple. She’s welcoming people to the market and she’s wearing an apron which students thought would be nice – if people working there wore a uniform.
To the right there is a man bringing in his days catch of fish and woman who is carrying a bunch of fish on her head to sell in the market, along with a goat. Harper, along with much of Liberia is on the ocean so fish are a very important source of food.
The roads shown in the mural are all well-maintained and head to the market. This is important because Harper is very isolated due to the bad condition of the roads, especially in the rainy season, making it extremely difficult for farmers to get their products to a central market where they can be sold.
The Community Arts Council came up with messages that would add another layer to the meaning of the mural. No food for lazy man, and A snake that always folds itself will remain hungry portray the same message that if you don’t work you won’t have food. One finger cannot pick lice means that people have to work together to get a job done.
The Energy Mural, created on the burnt-out Liberia Electric Company Building by youth participants in the Visions of Hope Project, Harper City, Liberia, July 2011.
The Energy mural is about bringing energy to Harper, both in the literal sense of electricity, but also other forms of energy such as food, the kinetic energy of dancing and music, and the type of psychological energy that is needed to get up every day and do what needs to be done. It’s painted on the front of a burnt out building that belongs to the electricity company that was destroyed during the war. Inside this building there used to be a giant generator that gave electricity to Harper.
The quote ‘the day is done, the sun has set yet light still tints the sky’ is interpreted in the mural to mean that even after the day’s work is done, there’s still energy to do more. You shouldn’t give up after the sun has set, again meant both literally and metaphorically.
On the far left is a man who is hoeing the fields, growing food.
In the middle is a boy who is drumming and a woman who’s dancing. Between them is a little, tiny town of Harper seen from the air and you can see the lights shining out of the windows showing that there is electricity in this town.
On the far right is a man showing a pineapple that he’s grown.
Various forms of generating electricity are also shown –wind, hydro or fossil fuels.
The Peace Through Human Rights Mural, created on an elementary school building by youth of Mentao Refugee Camp during the Energizing a Refugee Community Through Art I Project, Burkina Faso, February 2014.
The Peace Through Human Rights Mural depicts the following based on the Articles of the United Nations Declaration of Human Rights:
A match of football = Article 3: Right to life in liberty and security
A herder on the move with his animals = Article 13: Right to free movement
A journalist writing and thinking = Article 19: Right to free speech
A peaceful protest = Article 21: Right to participation in politics and government
A handicapped person being cared for = Article 25: Right to social security
The Arabic saying “Peace is good and sweet” is written in French, Tifinigh (ancient Tamacheck), Tamacheck, and Arabic on the mural.
The Women in the Workforce Mural, created on a commercial building in the neighborhood Mabanga Nord by the adolescent girl participants of the Courage in Congo Project, Goma, DR Congo, April 2016
The Women in the Workforce Mural depicted women in roles that are typically taken by men in working society in Goma, DR Congo. These images sought to show the capacity of women and girls beyond their traditional roles in the domestic domain as wives, caretakers of children and responsible for household duties. This theme connects to several important aspects of the promotion of women’s/girls’ rights, including: gender equality, equity, gender parity, and more broadly the shifting of gender norms. For the young women participants and our Community Arts Council members, the three workforce-related positions that they were most interested in showing in their mural painting were: a woman motorcycle taxi driver, a woman artist/painter, and a woman police officer. Some factors that drove this selection were the complete absence (or very small percentage) of women in Goma represented in these job positions, and the personal desires of the girls to have these particular jobs one day. The girls were eager to represent themselves (i.e. their own faces) in the mural to show that they themselves could actually take on these roles – thus, three participants were randomly selected from the group to be represented in the mural.
The Development Through Education Mural, created on a wall of the Community Center by the youth of Goudoubo Refugee Camp during the Energizing Goudoubo Refugee Community Through Art Project, Burkina Faso, June 2014.
Education was chosen as one of the themes by the community leaders because it is still not seen as valuable by much of the population. For a largely nomadic people who live off of their animals, such as the Touareg and Peuhl, the idea of attending school has historically been seen as unnecessary and useless, requiring a complete change in ways of living, and this mentality persists today. Schools are few and far between in Northern Mali, making access very difficult. This makes it challenging even for the more sedentary people, such as the Songrhaï and Arabs who largely rely on agriculture and business respectively. In the mid 20thcentury in Mali, the colonial French government forcibly took children from their families in order to put them in school, essentially kidnapping them. One of the participant’s fathers, Oussmane Ag Souleymane, described being taken from his family at the age of 10 to be enrolled in a school. On the journey there he tried to run away but they tied his foot to a large rock. His family took him back and tried to hide him in the desert but the authorities found him again and re-enrolled him. Oussmane’s father died the year he was taken and Oussmane never saw him again. After Oussmane was taken his family relocated, and moved outside of the town where he lived. Despite the trauma he experienced, he went on to finish his education, and became a government employee and is a huge advocate of education today, including for girls. (More can be read about him below.) This is a typical story of the colonial era and demonstrates the complicated relationship these populations have with education. Regardless, community leaders are convinced that education is one of the only ways to improve their communities and wanted to advocate for education through the mural.
The Education Mural depicts different types of education, both Koranic and Classic. On the right, a marabou teaches children in front of a mosque. In the center and left of the mural a teacher in a primary school helps a student to write “Bonjour” and “Matolahad,” which mean “Good morning” in French and Tamacheck respectively. Next to a school building, a woman prepares lunch for the school canteen. The community arts council identified portraying the feeding of students as an important motivation for both the students and parents for the children to attend school. Pictured below the school building, a father takes his child to school following behind other children on their way as well, indicating that parents need to support their children in attending classes. The classic education system at the university level is also represented in the top center part of the mural, in which a university building resembling the University of Bamako in Mali is shown with two students approaching it. Two former students in the camp who studied at the University of Bamako were photographed for this part of the mural. They both hope to return to the University when the crisis is over.
The mural depicts types of work valued by the community that are possible through education. The three that were chosen by the Community Arts Council were: a doctor, a customs official, and a lawyer. Fadimata Wallet Haiballa, a block leader in the camp, posed for a photo of the lawyer. While not a lawyer herself, she is one of the few literate women in the camp and therefore holds a prominent position as the chief of her block as well as a leader among the women. She is an advocate for minority groups and women in her community in Northern Mali and in the camp. Oussmane Ag Souleymane, a retired Malian customs officer with a 37-year tenure, posed for the photo of the customs official. It was important for the community arts council to show that members of their own community could have positions in government, which would be a step towards greater representation of this population in government in Northern Mali.
People pictured in the mural have both light and dark skin tones in order to show inclusion of multiple ethnic groups in the education system. This is a prominent issue in Northern Mali because those with lighter skin, the Touareg, have been, and are currently being discriminated against and targeted for acts of violence.
Equal opportunities for women in education are also shown in the mural. Throughout the various forms of learning and employment depicted in the mural women and girls are included, as gender equality is another prominent issue amongst the population of the Camp.
A poem about the importance of education was written in Arabic specifically for the mural by Sidi Hamd Ag Mohamed Ahmed, a Touareg poet in the camp. The complete poem was written on the mural in Tamacheck, the dominant language in the Camp, with excerpts included in French, Songrhaï, Arab and Peuhl. It is translated here in English.
An intellectual has to act with clarity and a great sense of responsibility to lead his people and benefit from the admiration of all. His expressions must be relevant, worthy, and admired by others.
Ignorance is tantamount to a piece of clay between the rocks, which erodes in the winter rains. Every time a person walks on the eroding path, the path becomes more and more dangerous until it arrives at its ultimate decline.
The Culture Mural, created on the old cinema building by youth participants in the Visions of Hope Project, Harper City, Liberia, July 2011.
This Culture Mural is about cultural practices the Harper community want to encourage or preserve. The cinema building in its former glory was a bank on the first floor and the second and third floors were a night club and cinema respectively. Now the first floor has been partitioned and part of it renovated into a small shop and the other part is used occasionally to show soccer games. The old cinema seats are still there for the soccer fans who come to watch.
Students were asked to answer the following questions when thinking about the design for the mural: Where are you coming from? Who are you? Where are you going? as a way to encourage them to identify their culture, history and dreams.
So much of the transfer of culture was lost in the war as families were broken up by death and emigration. Consequently, stories and cultural practices weren’t passed down. Cultural heritage is a starting point for identity and for discovering your self-worth.
The left side of the mural represents the past and shows the myth of how Harper came to be. Legend has it that a man from what now is Ivory Coast was hunting, following an elephant for many days. When he got to the place that is the present-day location of Harper, the elephant went around a corner and when the man turned the corner after it, the elephant had become a woman. She said, ‘Don’t worry about the elephant. Just bring your people here.’ So, he returned with his people to settle in Harper.
The center of the mural represents the present. It depicts a female student carrying her school books on her head. The project participants chose to have the student be a girl to show how important it is to also educate girls along with boys, and how it can benefit all of Liberia if the women are educated. Most of the future rests with the schoolgirl. She is shown with two palm branches coming together over her head, symbolizing a celebration. In Liberia if you see palm branches decorating a house or along the road, it means there is a celebration going on.
The right side of the mural represents the future and depicts a man painting a house to represent improving the infrastructure of the country.
The other images in the mural celebrate positive local culture. There is an image of two girls doing a traditional dance, and an elderly man who is wearing a combination of traditional Liberian dress and a western suit. He’s wearing a top hat and suit jacket, but is carrying a horsehair wand and a traditional wrap around his waist. This is typical formal dress in this part of Liberia and is considered a mix of traditional culture assimilated with western culture.
Crowning the mural at the top center is a traditional symbol of welcome in Liberia that shows one person giving a kola nut to another person. Offering someone bitter kola as a welcome is a very important part of Liberian culture.
The Community Arts Council chose the phrase ‘life is based on what good you leave with others’ to show the importance of thinking about what you’re contributing to society and what kind of legacy you will leave.
The Education Mural, created on the Camp Distribution Center by youth of Little Wlebo Refugee Camp during the Revitalizing Little Wlebo Refugee Community Through Art Project, Liberia, September 2012.
The Education Mural depicts the following:
At the center is a school where children are arriving, dressed in their school uniforms.
On the way to the school is a man and his son, headed down the road that forks, one path marked “non” that leads into the forest and the “oui”, that leads to the school (in french – “yes” and “no.”). Here it shows that parents have a choice whether to send their children to school, and that unfortunately some make the choice to have their children work instead. Alternatively there’s a woman walking with her daughter on the path to the school.
The school itself is under construction, with people mixing cement and building a wall around the school, expressing that more schools need to be built.
On the bottom right, with the help of education a school boy’s head is full of new information, words, letters and arithmetic. This expresses the transformation of the mind that occurs through education.
On the top right are three different jobs that can be attained through education: a lawyer, a president, and a doctor.
The Education Mural is completed on the distribution center in Little Wlebo Refugee Camp. It expresses how education can help to develope Côte d’Ivoire and that it is important for parents to allow their children to attend school. The Education Mural was created by 14 out of school youth, Little Wlebo Refugee Camp, September 5, 2012.
The Peace Mural depicts the following:
On the left, two chiefs reach an agreement ending a conflict between their tribes. This is witnessed by their constituents, and food and drink are provided to celebrate this occasion of newly found peace.
Symbols of peace are depicted: Doves fly through the air and flowers grow. In the center a girl holds a lamb a symbol of peace, and likewise a handshake above her also symbolizes peace.
To the right, couples dance in a nightclub to celebrate the end of war.
The Transformation Through Worthy Service Mural, created on the University Administration Building by students in the Education College at W.V.S. Tubman University during the Principles of Teaching the Arts in Education Course, Harper, Liberia, July 2012.
The W.V.S. Tubman University Mural depicts:
The five Colleges of the university are each represented by a distinct image in this mural.
On the left, the College of Engineering and Technology is represented by two people who are shown consulting the blueprint to construct a bridge. In Liberia the badly maintained roads (many of them, including main roads, are just dirt) and bridges (some amateurishly constructed of logs) are one of the major issues that impede development. In this image this lack of adequate infrastructure is being addressed.
At the top of the mural the College of Agriculture and Food Science is represented by a man plowing rice fields. Since the civil war, Liberia has been dependent on imported rice, one of the main staple foods for Liberians. An effort is being made to rehabilitate the agricultural sector in Liberia and to once again produce the grain that all Liberians consume.
In the rice fields a girl wearing her school uniform heads to school, representing the College of Education, and advocacy for girls in education.
In the center of the mural is a nurse, Representing the College of Health Sciences, studying something under a microscope and consulting a textbook.
On the right hand side of the mural, a group of students from the College of Management and Administration, and the College of Art and Science discuss global issues. The Tubman University is the second public university in the country and is the most isolated and remote from the capital city of Monrovia. This discussion highlights one of the overarching goals of education: to give students a broader perspective of the world and to facilitate connections between Liberia and the rest of the world.
Written across the mural is the university’s motto “Transformation through Worthy Service.” This highlights that through working together for the good of society, individuals are positively transformed.
Khaliatu George, an education major who was enrolled in the course and participated in the creation of the mural said, “We call Tubman University the light of southeastern Liberia. It’s the only university in the southeast. Our motto says ‘Transformation for worldly service’ and I believe that’s what we’re doing here. We’re transforming lives for worldly service in Liberia, in Africa, wherever you are. Whenever people see this mural, they will know that we are the light transforming people’s lives.”
The Development and Promotion of Women Leadership Mural, created on the outside of a grain storage building by the adolescent girl participants of the Courage in Congo Project, Goma, DR Congo, April 2016
The Woman Leadership Mural focused on the development and promotion of women leadership. These images sought to draw attention to the capacity of women and girls beyond their traditional role in the domestic domain as wives, caretakers of children and responsible for household duties. This traditional role has historically up to today limited Congolese women from meaningful participation in political life. This mural has two sides; on the first side, we showed an image of a strong female who believes in herself and her own capacity to create change in society. On the other side of the wall, we showed a female political candidate being supported and encouraged (by both men and women) to move forward and create change in her society. Through our discussions with the Community Arts Council (CAC) members, it was highlighted that although there are some female political candidates in this context, it is rare that women support them in this pursuit; instead, the followers of these candidates are typically male. The CAC members posited that Congolese women themselves doubt their own capacity and/or the capacity of other women to make decisions and take charge. In our discussions with the adolescent girls about women leaders, they confirmed this belief; for example, many expressed their doubts that a woman could become president and preferred that a woman take on a secondary post such as vice-president. Thus, these mural images sought to shift this widely held perception by women, girls and the community that women are not fit to be leaders.
