THE MURAL PROCESS – Northwest Indian Youth Conference 2011
This four day narrative design and painting process combined creative skills to stimulate critical thinking about identity, community, and the past-present-future.
Planned workshops, including concrete skill-building, active experimentation, and group and individual reflection were adapted according to group dynamics. During the youth conference participants were at liberty to move between workshops three times a day. We built upon the work of each preceding group.
DAY1: Surfacing Content
Sessions 1&2:
Group icebreaker –
Standing in a circle, draw a line connecting each participants pair of feet, a line from one person to the next. Essentially draw the circle that is formed by our proximity to one another. Inside this circle, draw what you bring with you today, something that signifies your presence. With each new group, welcome participants to contribute to this chalk ground mural. Get comfortable with making art public, building upon the work of others and letting gone of attachment to your own work.
Group brainstorm –
List community strengths and weaknesses.
With each new group, review, add, negotiate.
Individual writing exercise –
Ask a series of generative questions and give participants 2 minutes to write a response.
What is power to you? How do you define change? Who are you? Tell us about a time you were scared, or What is your biggest fear? How do memories and traditions, shape who you are? How do family, environment, media, and institutions shape your identity? What is your source of inspiration? What drives you? What gives meaning to your life? What is your life goal?
Please respect intellectual property and let me know if you intend to use this series of questions. I’d recommend it – the responses were clear and powerful.
Preparation –
Gesso the panels
Session 3:
This was a larger, more rambunctious group. To make use of their enthusiasm and opinion, we decided to develop the theme of the mural.
Group –
Revisit strengths and weaknesses, add and negotiate.
Small Groups –
Discuss: What is your motto? What is the statement that motivates you?
Feedback and define key words to gather more content.
Vote –
Determine top three.
- Keep Your Head Up
- Failing to Prepare is Preparing to Fail
- Keep it Native
Slide show –
Presentation of murals from around the world.
DAY2: Surfacing Story and Skills
Sessions 1, 2,&3:
A review of written responses illuminated both a presence and absence of support. Follow up questions were prepared to define “support”? Community, family, love, wisdom, respect, health…what does it look like? And how can it be connected to?
Drawing –
Participants draw images for significant words: love, wisdom, respect.
Mixing colors –
Test the quality of the paint you are working with. Mix colors to explore the tonal possibilities. Try to match colors to objects; fruits, flowers, clothing, etc. It’s another great way to assess the degree of experience in your group.
Stencils –
Provide examples of stencils. Ask participants to draw or select an image to stencil. Assist participants in designing the positive and negative space of the image. Tape drawing onto a cardboard surface and provide exacto knives.
Day3: Narrative Layout
This is a four panel project. To further explore community “supports” and the theme “keep your head up,” group conversation examined hierarchy and changes to community structure over time. What was the historical connection in the community? How was this disrupted? How do we relate today? What does reconnection in the future look like?
Session 1:
Group exercise –
Physically standing in the circular and hierarchical structure of the community. How does this affect our relational dynamics? Our sense of agency, purpose and power?
Focus groups –
Divide into four groups and layout visual elements that relate to different phases of community connectedness through time: original instructions; colonial disruption; transformation of the present; re-connecting, re-membering the future.
Facilitators circulate and ask generative questions.
Session 2:
Expand scale and insert additional content from writing and drawing exercises during the preceding days. Transfer with charcoal to prepped panels.
Youth were asked to volunteer their silhouettes to connect the panels.
1. In the first body outline holds hands with the community in panel 1. This same body holds a drum in a raised fist in panel 2.
2. The second boy outline gestures a hitch-hikers thumb in panel 2. This silhouette then extends a hand downward passing a basketball in panel 3.
3. The third body outline extends and arm downward to receive the pass. This silhouette links an outstretched arm back to the community in panel 4.
The pattern of arms in sequence creates a wave that is linked, then broken, then reaching and linked again.
Day4: Mural Painting
Paint all day
Outline in chalk as much of the known content as possible.
Panels can be upright with ladders or on the ground with participants seated next to their composition of choice.
A paint, brush, and cleaning station is the first step in orienting new participants to the project.
THE NARRATIVE - “Keep Your Head Up”
Panel1: The Circle of Life (Traditional Past)
“Power is the strength within, our culture, tradition. What we do every day is our power.” Shirley J., 17, Lummi Nation.
“Power: River; water running over rocks; cedar trees.” Michael J., 22, Nooksack
“Power to me is the sound of thunder. Everyone can hear it, no matter where you are.” Aaron J., Lummi Nation.
In this panel youth placed a long house / sweat lodge in the center of the composition. This is set as the core of the community around which the community gathers together. A tree is growing from the top of the structure and the roots of the tree create the structure and anchor it into the ground. In the foreground a pool of water collects and reinforces the circular pattern. The river that feeds into the water comes from a rainbow. The unique organization of color in the rainbow allows for a surreal quality to enter a historical setting. The first foods are to be represented with the water, the salmon swimming upstream, the roots, deer and berries that will be layered upon the landscape. In the background elder women dig roots. The Cascade Mountains can be seen along the horizon. Native plants and traditional baskets will be inserted in the composition. The life size silhouette in the foreground is holding hands with a member of the community. In the sky a hint of clouds are visible.
Panel 2: The Storm (Colonial Disruption)
“Change is when something unexpected happens.” Mary Ann M., Colville Confederated Tribes
“My biggest fear is that people will forget about our culture, language and traditions.” Mary Ann M., Colville Confederated Tribes
“My biggest fear is losing people I love.” Sydelle O., 15, Shoshone-Bannock
The clouds consume the entire heading of the panel. They are dark and release lightning bolts in the shape of dollar signs. On the left side of the panel the lightening has started a fire. On the right side of the panel rain is descending upon the burnt landscape. The composition perspective is leading away into the distant winding road. Upon the road is a full logging truck leaving the community. The tree stumps, skeletal teepee structure, animal skull, animal tracks and litter are all that remain. Crosses line the side of the road. The life sized silhouette on the left side of the panel is holding a drum in an upright fist. The silhouette on the right side gestures a thumb to hitchhike away. The central landscape changes from green to gravel to pavement.
Panel 3: The Change/Transformation (Now)
“Memories can shape who you are because they can haunt you.” Traci S., 14, Lummi Nation
“One time when I was scared was when I left my mom. I was only 4 when it happened. I have been gone from her most of my life.” James L, 14, Lummi Nation
“My inspiration is to overcome this life I live right now. To be in a better place and live a better life. Meaning in my life is basketball. My goal is to keep on track for college.” Jade S, 16, Colville Confederated Tribes
“When you do change, you put yourself on a challenged course.” Shundina S., 17, Navajo, Crow, Colville Confederated Tribes.
The landscape in the foreground is showing new growth. This continues into a labyrinth of streets that map the community where people now live in single family homes. There are many roads to choose from. The roads lead east which is depicted by the couture of the east coast of the United States and Central and South America. Upon the blue water stampede riders gallop forward, each colored by a section of the medicine wheel. Across the water is the western coast of Africa and a radio tower is transmitting signal as a new sun rises. The clouds are breaking up. The silhouette on the left is passing a basketball and the silhouette on the right is ready to receive. Like many things at this time the basketball is in motion. Between the figures is an approaching eagle with a diploma in hand.
Panel 4: The Future / Reconnection
“Power to me is a strong close community.” Bryson M, Spokane
“Oh, and to be the first woman president.” Ashely L., 15, Lummi Nation
“To be able to lead your people to where you can make them safe.” Vanessa H., 16, Northern Ute, Arapaho
The rainbow has returned in the sky and descends into a spiral in the center. The colors of the medicine wheel are also represented as paths that are reconnecting in the center of the composition. The silhouette is again holding hands with a community member who is Miss. Northwest Indian Youth Conference. She is holding hands with other youth. Behind them will be faces and figures of many family and friends. Along the rainbow will be a series of 12 stenciled feathers representing the 12 tribes of the Confederated Tribes of the Colville Reservation (Wenatchee, Nespelem, Moses-Columbia, Methow, Colville, Okanogan, Palus, San Poil, Entiat, Chelan, Nez Perce, Lake).
What other elements will appear in the future?
To be continued…May 27th at the Paschal Sherman Sunflower Festival!
Thank you to all the NWIYC participants and organizers
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