Conference Proceedings 2010 [pdf] - Art & Design Symposium ...

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There is therefore clearly an interesting discussion to be had about how this artistic energy can be harnessed for the benefit of the entire community and used to dissolve divisions. Historical and other interpretation of the murals could contribute to a broader understanding that can filter into the political, reconciliation and healing processes, for example. Finding the right formulas to achieve such goals is a considerable challenge for the stakeholders concerned. The Portable Peace Mural Process: Belfast Kids Guernica The Belfast Kids’ Guernica project exists on a micro level. However, its international connectivity provides it with an important platform and influence. The broad narrative of the initiative is documented in the accompanying publication for the Kids’ Guernica International Exhibition at Florida State University (Anderson, 2010). To recap: Belfast Kids’ Guernica came about when this writer was invited to a similar exhibition in Athens, in 2007, by Dr Hatto Fischer. A Belfast painting was proposed. After intensive consultation, Cathal Cauldwell, head of the Art Department in the Little Flower Girls’ Secondary School, Belfast agreed to facilitate a painting. Mr Cauldwell got a Year 10 (14 year olds) class to produce the artwork. This writer met the young artists and briefed them on Kids’ Guernica and other themes. Within weeks the painting was complete. This was in June 2008. Belfast-based photographer, Kevin Cooper has photographed the painting and events linked to it. The most notable of such events was the first public exhibition of the painting in Belfast’s prestigious Linen Hall Library. This opened on 21 September 2009 attended by Dr Fischer and Boris Tissot of the Kids’ Guernica International Committee. Northern Visions Community Television produced a short documentary on this event (Kids’ Guernica, 2009). The Kids’ Guernica representatives sampled Belfast’s murals and met non-government organizations (NGOs) engaged in practical peace work. Kevin Cooper who was also a former trade union representative for journalists and who is active in human rights activity, facilitated this aspect of the visit. This included a meeting with Roisin Mc Glone, Chief Executive Officer (CEO) of Interaction Belfast, which facilitates cross-community crisis management in flash-point areas (R. Mc Glone, personal communication, December 2009). In the wake of this intensive briefing process both Kevin Cooper and Roisin Mc Glone spoke about the mural tradition. The Interaction Belfast CEO saw murals as a “useful barometer” of community opinion. She expressed concern about moves to superimpose professional art. She feared that such approaches could bypass people on the ground in what could be seen as an airbrushing exercise. Kevin Cooper, an equally astute and tough-minded observer, welcomes the more temperate tone of many murals in what he considers a “transitional period” from conflict to peace. However, in the long-term, he would prefer to see more conventional civic art flourish. He vehemently opposes the implicit intimidation, even if subtle and sublime, transmitted by an art form, which has its roots, he asserts, firmly in conflict and division (K Cooper, personal communication, December, 2009). Seeking Solution The peace process and peace building is a work in progress. The Belfast Kids’ Guernica painting provides an excellent educational tool and template. Academic research has a part to play, particularly by employing international and comparative perspectives. With events and/or a dedicated conference on the wall mural tradition, a vast array of crucial issues and questions could be tackled. N. Ireland’s murals need to be interpreted in a neutral and safe space. The portability employed by Kids’ Guernica can perhaps be applied to view formerly walled images in exhibition? At the very least, murals must be digitally preserved and archived if and when they are removed. This is a plea from a humble journalistic and historical perspective, because without proper information and healthy historical memory liberated from mythology and the effects of conflict, violence can easily be re-ignited. Peace is an ongoing and tedious process, especially when being consolidated. 46
Peace is not an event and should never be taken for granted. Peace requires acknowledgment, accommodation and an array of other attributes. After centuries of conflict such lessons are still being learnt within Ireland and between Britain and Ireland. Learning the art of peace-building and using art for this purpose is part of the process. The Belfast Kids’ Guernica Portable Peace Mural is an educational experience, tool and template in this context. The angry art of the wall murals is, as Roisin Mc Glone said, a barometer and one that shows that our peace and peace-building is not yet state-of-the-art (R. Mc Glone, personal communication, December 2009). References Anderson, T. (2010) Kids’ Guernica. Catalog published in connection with the Kids Guernica Exhibition at Florida State University (FSU) Museum of Fine Arts and the Art and Design for Social Justice Symposium. Bogside Artists. (2001). The Bogside Artists, Derry (Londonderry), Ireland, 2001 Carnduff, N. (2009, May 15). Belfast Lines Redrawn: The changing face of Belfast’s city murals. Irish Times. Conlon, B. (1984). Northern Ireland and the contemporary era: The Northern Ireland civil rights movement, June 1968- Auguest 1969. Unpublished masters dissertation, University of Ulster (Coleraine). Cooper, K. (2009). Interview Kids’ Guernica (2009, October). Northern Visions Television (NCTV), Belfast. Rolston, B. (1992). Drawing Support: Murals in the North of Ireland, Belfast: Beyond the Pale Publications. Rolston, B. (1995). Drawing Support 2, Belfast: Beyond the Pale Publications. Rolston, B. (2003). Drawing Support 3, Belfast: Beyond the Pale Publications. 47
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Page 20 and 21: esources and venues we hope to secu
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Page 26 and 27: Background: Eastern Woodland Indian
Page 28 and 29: design very much throughout the pro
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Page 32 and 33: Examples of the Gap Between Art and
Page 34 and 35: Varbanova, L. (2009). Social entrep
Page 36 and 37: field for community building. This
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Page 40 and 41: times from presenters that discrimi
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Page 48 and 49: Service Learning as a Strategy in t
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Page 56 and 57: The Affordable House: Making Design
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Page 62 and 63: Figure 6. Hamza, a visually impair
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Page 66 and 67: Exemplary Teaching in Urban Schools
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Page 72 and 73: Growing Home: Creating Living, Sust
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Page 80 and 81: References Art 21 (2007a). Mel Chin
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Page 86 and 87: Artmaking as a Process for Explorin
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Page 92 and 93: Art and Life With Children Boris Ti
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lacked anywhere else to put these i
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References Baldassare, M. (1979). R
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Table 1. Environmental features add
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Figure 7. A view of the room’s en
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Radstone, S. (Ed.), (2000). Memory
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For centuries we have drawn on the
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Figure 2. Spiral Shell with Transpa
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Photographs Ansley Simmons Allys Pa
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