In this blog entry, David Updike, co-editor of Philadelphia’s Mural Arts @ 30, offers his thoughts on the book and what he learned about Mural Arts along the way.
I think it’s safe to say that over the last thirty years, Philadelphia has become a city of murals. As you crisscross the city, you find them in just about every neighborhood, often where you’d least expect them. They’ve become a part of our landscape, and something that people here and elsewhere associate with Philadelphia. A lot of the credit for that goes to Jane Golden, because it wouldn’t have happened without her energy and her vision, but it also wouldn’t have been possible if the city itself hadn’t embraced the idea that public art matters. And it matters, not just because it improves our aesthetic environment, but more importantly, because it has a lasting impact on the people who participate in the process.
The Mural Arts offices are a buzzing hive of activity. In the hallways you pass a steady stream of people coming and going, to and from mural sites, or classes, or canvassing neighborhoods. And these are people who, to borrow an old phrase from Bill Clinton, look like Philadelphia. They’re young and old, they’re black, white, Asian, Hispanic. And they all carry themselves with a sense of purpose. In the gallery downstairs you’ll see exhibitions of art—some of it quite remarkable—made by everyone from elementary school students to inmates serving life sentences at Graterford. And then there’s the room upstairs with the very skylight under which Thomas Eakins painted The Gross Clinic. And I suspect that our city’s greatest painter, were he alive today, would approve of this populist endeavor, which seeks to embrace the city he loved in all of its aspects.
I’m very fortunate to work at the Philadelphia Museum of Art, one of our city’s other great cultural institutions. And it occurred to me as I started working on this book that, in a way, the Art Museum and the Mural Arts Program have opposite but entirely complementary missions. At the Museum we work very hard to get people to come to us and experience great art. But Mural Arts brings art to the people in the places where they live and work. And what Mural Arts brings to these communities is not a particular product or aesthetic. Rather, it’s a process of engagement and dialogue and co-creation that takes place over months and years, and whose effects remain long after the paint on the walls has dried.
This book seeks, above all else, to document what takes place off the walls. And really, this gets to the heart and soul of what Mural Arts does. Yes, it’s about transforming places, but mostly it’s about transforming people. We wanted to look at that process and its effects through many lenses, so we brought together a diverse group of authors from different disciplines—social sciences, public health, art education, restorative justice—to paint as broad a picture as possible of what a socially engaged art practice looks like, and what it can do, especially when it works in tandem with other organizations to address big issues like homelessness, youth violence, or urban blight.
In the book, Jeremy Nowack aptly refers to what happens in the course of creating a mural as a kind of “social contract” that arises between all of the stakeholders involved in a project—neighbors, business owners, community leaders, schools, artists. And the key word here is “stakeholders.” People feel a sense of investment and ownership in the murals. They take pride in them. They show them off to visitors. New stories and rituals grow up around them. People now ride the Market-Frankford El in West Philly just to see Steve Powers’ 50 Love Letters unfold. Inspired by the murals, couples have gotten engaged and even married on that 20-block stretch along Market Street.
Other stories around the murals are more painful, more challenging, but also rewarding in ways that aren’t necessarily visible to someone looking only at the end result. A particularly poignant example is James Burns’s Finding the Light Within, which took on the issue of youth suicide, not just with a very powerful and personal mural, but also with community meetings, writing workshops, collage workshops, and a participatory blog, all of which provided safe, supportive spaces in which survivors could share their stories. More than 800 people participated in those activities, and hopefully found some measure of healing in the process.
Elizabeth Thomas begins her essay with a provocative question: “Who makes culture?” In other words, Who decides what messages we see and read and hear? Whose stories count? Every day we’re bombarded by images and messages that tell us what we should wear, eat, drink, watch, listen to. But how often do we see our own struggles and achievements reflected in our environment, or our own stories projected into the public discourse? Socially engaged art practice has begun to address this problem of who gets represented—and who does the representing—in public culture. It’s happening in different ways in different cities around the country, but in Philadelphia its most visible proponent is the Mural Arts Program.
Much of the work that Mural Arts has done in recent years has sought to expand the definition of what a mural is and what it can do. For the mural project called Peace Is a Haiku Song, the poet Sonia Sanchez initiated what became, in essence, a citywide collaborative poem cycle. She began with a mental image of haiku by children hanging like cherry blossoms from the trees in Philadelphia. This evolved into an invitation to people of all ages to contribute poems in a series of community workshops and through a dedicated website. The poems didn’t end up hanging from the trees, but many of them ended up on posters around the city that were created by youth working with graphic designer Tony Smyrski.
The experience of seeing your own words and your own images projected into the world is an empowering one, especially for young people. As Cynthia Weiss points out, kids participating in mural projects often gain practical, real-world skills, like photography and graphic design. But they also gain a sense of agency that may be hard to come by elsewhere in their lives. And that type of experience can have a lasting impact on a person’s life in ways that we’re really only beginning to understand.
This is the essence of what Mural Arts does. It’s about creating situations in which people are drawn out of their everyday selves and both challenged and empowered to reach for something more. So while this book marks a milestone in the history of the Mural Arts Program, our hope is that it also points the way forward for others who want to use the power of art to change things for the better.
To listen to a podcast of David Updike and Jane Golden’s presentation at the Free Library of Philadelphia from March 26, click here: http://libwww.freelibrary.org/authorevents/podcast.cfm?podcastID=1216
Filed under: african american studies, american studies, Anthropology, art, cultural studies, Education, History, Jewish, Labor Studies, Latin American studies, law & criminology, Mass Media and Communications, Philadelphia, photography, race and ethnicity, sociology, Urban Studies, women's studies | Leave a comment »