a publication of Art4Development.Net

Transcription

Art4Development.Net
Issue No 9 Fall/Winter 2008
Fall/Winter 2008 | art’ishake | 1
arts, culture, social change, and development magazine | a publication of Art4Development.Net
Dear art’ishake reader:
Just in time for the holidays, here comes the 9th issue of
art’ishake, again filled with interesting and surely inspiring
initiatives and stories from around the world.
We will begin by taking a close look at “service learning” which is about empowering
students, mainly at elementary school stage, to understand and engage in
development issues. See how arts play a vital role in developing a primary school
service learning agenda. We will then move on to another inspiring initiative by the
Center for Environmental Research and Education in India, who have created OUT OF
THE BOX, an art-and-craft-with-waste manual, with the aim of helping children learn
about waste and creating awareness about the environment.
Meet Educultural Artists Kenya (ECAK), a group of visual artists whose common
objective is to use creativity in educating their communities. You will surely find their
strategic approach usually involving diverse audiences very useful. Tabaka Artisan
Center Youth Group is another organization from Kenya working to mobile young
people to implement community based projects to fight mainly HIV/AIDS problems in
Kenya. The Group also involves youth in creative/artistic work in an effort to address
poverty.
art’ishake e-publication intends to address interdisciplinary,
cross-cultural, and inter-sectoral issues in tandem with arts
and development.
Editor and Design
Nil Sismanyazici-Navaie
Art4Development.Net
Associate Editor
Elif Ertem
Art4Development.Net
Associate Editor
Janet Feldman
ActALIVE
Created and Produced by
As you may know, 2008 has been chosen by the EU to be the European Year of
Intercultural Dialogue. “A Sea of Words” a short story contest dedicated to youth on
the theme of intercultural dialogue, is one of the successful projects aiming at
promoting intercultural dialogue and understanding.
Arts for Global Development, Inc.| Art4Development.Net
URL: http://www.art4development.net
Email: [email protected]
Next you will find the details of Project 3: Empowered by Artistry, a collaboration of 3
arts initiatives; Arts for Global Development, Inc, La Femme: The Feminine, and The
Girls Gotta Run Foundation dedicated to social justice issues and to making a
difference for women through creativity and fine arts. We have several artworks and
poems dealing with diverse issues such as women’s issues in Africa. Finally; you will
also get the details of the most recent Art4Development projects; their focus of which
ranged from health advocacy to girls empowerment.
This complimentary issue has been created in collaboration
with contributors: Daryl Wells, Katy Rustom, Luciana Grosu,
Remy Musindi, David Kerr, Nico Phooko, Samson Getubo, C. Mali
Phonpadith, and Carol Sorhaindo.
We hope to be able to continue to inspire you with the last issue of 2008. May 2009
be even more inspiring! Have a creative new year where you continue to make, small
or a big a change through arts! As always we look forward to hearing your
experiences in the next issue of art’ishake.
Elif Ertem
Vice President
Art4Development.Net
Cover Image: ‘Future Vision” by Marijn de Vries Hoogerwerff, The Netherlands
Marinos is a young IT specialist and digi-artist who contributed this piece to the
“Vision 2015 Your Future” arts contest that was conducted in 2005 in collaboration
with TakingITGlobal, Arts for Global Development, and the UN Millennium Campaign.
He says: "My vision for the future is built on love and hope. In this artwork I tried to
expose this feeling, without any answers or explanations. Just feelings." The image
of this art piece, along with over 20 other youth artworks, is currently being
displayed at CreativeChange Travelling Arts Exhibits across the world.
CreativeChange exhibitions aim to raise greater awareness about the Millennium
Development Goals (MDGs); explore the emotional facets within the goals; foster an
intercultural dialogue and understanding through diverse perspectives around these
globally common goals; and ultimately contribute to the achievement of the MDGs by
2015. To learn more about CreativeChange and ways to join this arts and
development journey please visit:
Art4Development.Net
http://www.art4development.net/creativechangetae.html
We would like to thank all our contributors for submitting
information and sharing their ideas and work.
Feel free to write to us, share your comments, and contribute for the
next issue! We look forward to hearing from you. Contact us at
[email protected]. You may find the guidelines at
http://www.art4development.net/artishake.html. Submission
deadline for the next issue is March 01, 2009.
Copyright in editorial matter and in the art’ishake as a whole belongs to
Arts For Global Development, Inc. Copyright in individual articles and
artworks belong to the authors and artists.
All rights reserved. No part of this publication may be reproduced or
transmitted in any form or by any means without the prior permission in
writing of the producer nor be circulated in any form of cover other than
that in which it is published. Requests for permission to reproduce any
article, artwork, or any part of the publication should be sent to the
producer.
In the interest of providing free flow of discussion, ideas expressed in
art’ishake belong to the artist/author and are not necessarily those of the
editors or Arts For Global Development, Inc. Although every effort is made
to ensure the accuracy and reliability of material published in art’ishake,
Arts for Global Development, Inc. does not accept responsibility for the
veracity of claims or accuracy of information by contributors.
CONTENTS
Matching Need with Want: Independent Schools as a Resource for Educational
Development through Art......................................................................................................................
Daryl Wells, UK .............................................................................................................................. 4
Children Learning About Waste through Arts and Crafts ..............................................................
Katy Rustom, CERE, India............................................................................................................... 9
MDGs By Educultural Artists Kenya ...................................................................................................
ECAK, Kenya..................................................................................................................................10
“A Sea of Words”: International Short-Story Contest promoting Intercultural Dialogue
through Art...............................................................................................................................................
Luciana Grosu, Romania...............................................................................................................12
Project 3 - Empowered by Artistry ................................................................................................14
an artist: Remy Musindi, Kenya.......................................................................................................16
Women Pumping ...............................................................................................................................17
Predators .................................................................................................................................................
David Kerr, UK ..............................................................................................................................18
Tabaka Artisan Centre Youth Group..................................................................................................
Samson Getubo, Kenya ................................................................................................................19
Doorstep...................................................................................................................................................
C. Mali Phonpadith, Laos/USA ..................................................................................................20
Ancestral Spirits ......................................................................................................................................
Carol Sorhaindo, UK ....................................................................................................................21
Some news from Art4Development.Net and Friends..................................................................22
Notes....................................................................................................................................................26
Art4Development.Net
·an opinion
Matching Need with Want:
Independent Schools as a Resource
for Educational Development
through Art*
Daryl Wells, UK
The child shall have the right to
freedom of expression; this right shall
include freedom to seek, receive and
impart information and ideas of all
kinds, regardless of frontiers, either
orally, in writing or in print, in the
form of art, or through any other
media of the child's choice.
Article 13,
UN Convention on the Rights of the Child
Achieving universal primary education means
more than full enrolment. It also encompasses
quality education. It also encompasses quality
education, meaning that all children who attend
school regularly learn basic literacy and numeracy
skills and complete primary school on time.
Millennium Development Goal
For those of us who feel passionately about art
and social change, the focus is often on need:
how can we provide creative opportunities to
as many disadvantaged people as possible? It
may be difficult to perceive what a wellendowed school with a student body of
privileged, cosmopolitan primary school
children might have to do with developing
richer educational programs in underprivileged
communities. Up until four years ago, through
my work as an artist, international art educator,
and community arts activist, my most valuable
experiences consisted of non-profit work in
Art4Development.Net
inner city communities-- developing art projects
through local arts councils, and giving voice to
young artists who lacked these opportunities
through their local educational institutions.
However, when I started my position as an Art
Specialist at the American School in London four
years ago, I became aware of a different set
of needs common to school communities whose
students come from more prosperous
backgrounds. I experienced the shock of moving
from work as a resident teaching artist in the
South Bronx to working as a primary school art
teacher with a generous budget, a high level of
parent involvement, and administrative support
for the arts. Still, the one thing that these
students commonly lacked was awareness of,
and exposure to, the lives of peers living in less
privileged circumstances.
This problem is particularly pronounced in the
primary years; as students grow older, they are
often given opportunities to take part in
outreach service initiatives—programs which
usually consist of local and international
volunteering opportunities, and for which
students are sometimes given academic credit.
In the Lower School at ASL, though, most of our
‘community service’ initiatives involved asking
students for targeted donations—cash toward
the purchase of a charitable gift, as well as
clothing and food drives. These children’s level
of participation was therefore limited to asking
their parents to provide the necessary funds or
items, and their thoughts about the process
rarely extended beyond ‘they don’t have
enough, and we have more, so we should share’.
While we as educators certainly want to
encourage compassionate thinking, I was
concerned about the ‘us and them’ thinking that
it exemplified, and the ‘one-way’ tone of the
donation model. As we began a search for
other, more engaging alternatives for our
students’ efforts at outreach, I repeatedly came
across the term ‘service learning’, as applied to
the kind of projects that matched our needs.
What is service learning? According to the U.S.
National Youth Leadership Council, it is:
commonalities that are useful in constructing a
basic model for evolving such projects in the
most constructive way for all involved.
a teaching method that enriches
learning by engaging students in
meaningful service to their schools
and communities… Young people
apply academic skills to solving
real-world
issues,
linking
established learning objectives with
genuine needs.
For students in the primary years,
this should be modified to read:
a teaching method that enriches
learning by exposing students to
meaningful service in their schools
and communities… Young people
apply practical and creative skills
to solving real-world issues, linking
established learning objectives with
genuine needs.
This is the crux of what service learning is
about—empowering students to understand
and engage in an issue, rather than simple
‘giving’.
I have spent the past four years investigating
ways in which we could connect students to
community action in a deeper way. Through
both local and international projects extending
over the past five years, I have found that the
arts are an ideal springboard towards the
development of a primary school service
learning agenda. With their potential for
communication across boundaries of language,
cultural, and economic background, art is the
perfect conduit for establishing primary-level
service learning projects, and may provide the
framework for other independent schools to
incorporate into their developing service
learning curricula. Though this thinking has
manifested itself quite differently at the local
and the international level, there are certain
Art4Development.Net
First, how is this applied at the local level?
During my first year teaching in London, I
discovered that many British state schools
lacked a regular art teacher— such schools
are usually given a budget much too small to
provide a full-time art position, and use what
funds are available to pay for brief in-school
artist workshops and museum field trips. This
situation is not unusual, and in the cashstrapped inner city educational system, the
arts are often the first thing to go when
budget cuts become necessary.
However, if we agree that the arts are a
necessary
element
of
contemporary
educational
practices—active
learning,
teaching to the ‘whole child’—then mustn’t we
agree
to
reach
toward
including
disadvantaged students in this practice? And
shouldn’t well-resourced schools, searching for
meaningful kinds of service learning, be a
part of extending the arts to students of all
backgrounds? Recent stories in the media have
documented the evolution of a kind of
‘educational apartheid’ in the developed
world, with disadvantaged children losing out
as they progress through schooling. In the US
and the UK, many people have begun to
question the fairness of ‘fee-paying’
independent schools’ charitable or non-profit
status, where endless amounts of money and
resources are poured into bettering the
educational prospects of a sliver of the
student population, while a majority of
children are left to flounder.
Meanwhile, many independent schools have
burgeoning service learning programs
involving the fundraising and donations model;
others have begun to lean towards more
participatory models. In the UK, “dozens of
independent schools are investigating acting
as sponsors of new schools. Church of England
schools are looking at acting as sponsors in a
move to spread their educational and musical
expertise.” (Meikle, Observer 08/07)
Independent, well-resourced schools bear the
majority of responsibility for equity in innercity education, but I think it’s clear that there is
more that we can and should do, and students
in at-risk schools are not the only ones who
stand to gain from such partnerships.
Educational disparity can also be detrimental
for students at wealthier schools. A 2005
study in the American Journal of Community
Psychology found that family, school, and
community are important factors related to
children’s academic achievement:
Integrated settings are thought to
promote more positive attitudes in
friendships with children of other
groups.
Thus, more mixed socioeconomic learning
communities are needed for students of ALL
backgrounds, including more privileged ones.
While it may be easy to envision such
collaborations between schools in the same
metropolitan area, geographical and cultural
distance creates additional challenges. Still, if
each school is committed to the principle of
equity in education, and understand that
students will benefit from engaging in
Art4Development.Net
communities beyond their usual reach, restricting
the agenda by geography would be
unfortunate. First, we have to agree upon the
notion that art is a necessary component of
education. In the segment of the Millennium
Development Goals devoted to primary
education, no mention is made of artistic
education, and only literacy and numeracy are
specified as elements of ‘quality’ education.
This is an unfortunate but understandable
omission: these skills are obviously key to
children’s survival, and must provide the
structure for their academic future. But if all
findings point to the fact that creative
expression is an essential characteristic of a
superior school, future policy must begin to
reflect that fact, and all educational institutions
can have a hand in providing this to primary
students.
How can independent schools contribute, beyond
raising money for needy schools in developing
countries? Many private schools are beginning to
form links with partner schools abroad, but in
order for these to be effective in the long term, a
systematic, goal-oriented approach is needed. A
similar model to the previously discussed school
partnerships may be established, but in this
instance, the teachers play an even more crucial
role, as detailed in Model No.2 below.
At this point, many will be asking ‘How does this
type of project qualify as ‘service learning’? This
model involves teachers, rather than students,
traveling to other schools and encountering the
challenges and rewards of working in other
educational environments and socioeconomic
communities. The confusion is understandable,
but I’ve come to the conclusion that we as art
educators are also delegates for our students’
evolving global awareness. It is our job to
stimulate their curiosity about the world, and
seeing us participate in such collaborations
creates awareness that community engagement is
a ‘normal’ and essential part of life. If we want
to discourage the insularity that can lead to
xenophobia and conflict later in their lives, we
must send students on a lifelong quest for
common ground; in the early years especially,
we are the emissaries of that search.
In the earlier-quoted study from The American
Journal of Community Psychology, the authors
ultimately found that teachers had the greatest
effect on children’s notion of ‘perceived barriers’,
more so than even their parents:
Children whose teachers perceived
fewer barriers due to race and
ethnicity evidenced more trust and
optimism… The collective experience
of one’s community communicates
important messages about education
and opportunity.
If we as individual artist-educators, and as
larger school communities, join forces to create
meaningful creative links across social, economic,
racial, and ethnic barriers on a local and global
scale, not only do students in underserved
schools stand to benefit, but our students will
also become aware of the possibilities for
change they can effect within their own lives, as
Art4Development.Net
‘service learning’ becomes an inseparable part
of their wider pursuit of lifelong learning in the
arts.
If independent schools make
the link between their
determination to expose their
students in service learning and
the widespread lack of art
education for children in need,
both groups will reap untold
benefits.
To quote a key UNESCO finding on education in
the arts:
The encouragement of creativity
from an early age is one of the
best guarantees of growth in a
healthy environment of selfesteem and mutual respect Fall/Winter 2008 | art’ishake | 7
critical ingredients for building
a culture of peace.
*This article is modified from a presentation I
gave in November 2007 at the Mediterranean
Association of International Schools Conference
in Rome, entitled ‘The Arts as a Conduit to
Service Learning’.
Daryl Wells is an Art Specialist at the American School in
London.
(1)
(2)

(3)
(1-2) Working with students from Churchill Gardens Community School, an English state school, on the
joint ASL Community Heroes project, and beginning portrait photography workshops at Churchill
Gardenswinter of2006.
(3) Daryl Wells with Dana Dajani (centre), Churchill Gardens’ Arts coordinator, and student artists from
both schools, at the Community Heroes exhibition, Abbey Community Centre, London, May, 2006.
Art4Development.Net
·a book
Children Learning About Waste
through Arts and Crafts
Katy Rustom, CERE, India
“It has taken me a whole lifetime to learn
to draw like children.” Pablo Picasso
During an arts and crafts session a little boy,
Taha, arrived looking pinched and tired. He
was not very well but insisted on staying to
make clay lamps. He had just molded and
shaped the clay into a lamp in the shape of an
elephant, when he let out an ear-splitting yell.
‘I’VE GOT MY POWER BACK!!!’
The transformation was magical. His eyes were
shining and he was bursting with energy. This is
what arts and crafts do – they give children
their power back. All the bubbling energy that
has been sucked out of them by work which
rarely stimulates or challenges them is returned
to them in the act of creation.
Unfortunately, in many countries arts and crafts
are just a peripheral subject in the educational
system. Moreover, it is taught in a rigid,
structured fashion where only a specific
‘product’ is acceptable. This not only limits
creativity and personal expression but robs
people of the ability and the desire to express
themselves and value what they create. A
limited amount of material also makes it
difficult for them to be imaginative.
Not everyone can draw a horse that looks like
a horse but they might fashion one out of clay
or make one of papier-mâché. Using waste to
create art is an ideal way to provide all kinds
of materials of different textures, colors, and
malleability, while simultaneously creating the
vital awareness that we produce large amounts
of waste, which has become a serious problem.
Art4Development.Net
The use of waste for art is beneficial in many
ways. For one, it enhances the artistic
experience because children are working with a
variety of materials instead of just paper,
pencils, and crayons. A variety of materials
necessarily implies a variety of activities –
cutting , sticking, painting, and molding This
would widen their perception of ‘art’ and give
many more children the confidence to
participate, as it taps different talents rather
than just the ability to draw.
Moreover, children themselves collect materials,
which would create awareness about the
environment and the problems we are facing in
a real and meaningful way. They learn to
recognize waste as a cheap resource that can
be reused creatively, and so learn the
fundamental principles of sustainable living that
they can practice.
Lectures on global warming and the depleted
rainforests only create a sense of their
helplessness (if it makes an impact at all!) as
these problems seem too overwhelming for
them to do anything about. Use and collection
of materials inculcates a sense of responsibility.
It also encourages that vital leap of the
imagination – the ability to see hidden
possibilities. What can something become? A
bottle cap could be the burning eye of a
dragon, a foil packet its shimmering scales!
To unleash the potential of both the child and
that of waste, The Centre for Environmental
Research and Education (CERE) has published
an art-and-craft-with-waste manual, entitled
‘OUT OF THE BOX’. It is for children between
the ages of 8 and 12, and allows them to
express their creativity while learning about
one of today’s most pressing problems – waste.
The book has over 30 inventive, colorful, and
easy-to-do projects that use everyday
household waste materials to make beautiful
works of art. The ideas here have evolved over
a long period of working with groups of
children in Mumbai, many of them in schools for
the underprivileged. In order to make sure that
these ideas are practical and ‘do-able’ in the
classroom, they have been tried out at different
levels and in different schools. Many of the
ideas have been shaped by the children
themselves and hopefully will help children get
their power back!
You can order a copy of the book from the
following online bookshops in India:
www.otherindiabookstore.com
www.earthcarebooks.com

MDGs BY EDUCULTURAL ARTISTS
KENYA
ECAK, Kenya
All projects that have been carried out by
Educultural Artists Kenya (ECAK) have been
community based and are aimed at either
creating awareness or calling for behavior
change to fight certain problems affecting
people in a society. Our tools of communication
have been arts- based because ECAK is an
artists’ organization whose initial objective was
to promote visual artists and empower them to
use their creativity to educate communities
around the country.
Art4Development.Net
Original members of ECAK had been
interacting occasionally through projects
organized by local NGOs in Kenya. This
resulted in gaining experience together and
sharing more on how to improve their careers
as visual artists. A decision was reached to form
a visual artists’ organization which would be
managed and run by artists themselves.
Visual artists in Kenya have been working as
individuals for a long time and depending on
other organizations to promote their work. This
has done little in terms of strengthening them
economically to reach vital common goals.
Artists, like other members of a community, are
equally affected by all shortcomings caused by
underdevelopment. Our common objective was
therefore to use our creativity in educating our
communities to develop their socio-economic
status and improve their living standards.
We have used artistic expressions on posters,
brochures, books, calendars, charts, and murals
to communicate about the HIV/AIDS pandemic,
family planning, gender equality, governance,
and domestic violence issues. Before a message
is developed into a pictorial form, artists meet
at a workshop to discuss the theme.
The theme is divided into three parts: problem,
dilemma and option. After all three parts have
been exhaustively discussed, each participating
artist is given time to come up with sketches
according to his/her own interpretation of the
theme. A successful final image should be able
to depict all the three areas clearly and
effectively too. The best sketch is selected
improved and a final sketch done in full color.
Although this is a long process, high standards
of creativity, experience and love of art gives
our artists inspiration to go through it.
The strategy we use, especially for murals,
involves the audience from the community in
question. Due to the complexity of many
communities in Kenya who have different
cultures, religions and economic backgrounds,
it’s not wise to use communication materials
before understanding the community fully.
We use both performing artists and muralists to
achieve our goal effectively. The first step is to
do a baseline survey on the problem in
question, either through local groups or random
questionnaire sampling. After the facts causing
the problem have been identified, skits
depicting the same are composed.
The best skit is polished to be used at wellmobilized outreaches at suitable community
centers. The skit only depicts the problem and
dilemma at this stage. This gives suspense to the
audience, challenging them to think about their
personal options. A willing individual from the
audience is invited into the play to give an
option to the dilemma. This continues with
different options being given till the absolute
and reasonable option for the dilemma is
reached.
Sketches on the problem, dilemma, and options
which the muralists have done are displayed to
the audience at the end. The audience chooses
the sketch that addresses the problem clearly.
ECAK muralists then supervise local artists in
painting the mural. This has proved to be an
effective and inclusive method which the whole
community
accepts
and
owns.
ECAK
recommends that at least one youth group
should be identified in every region to be
trained and extend this trend to other areas of
their community. Such groups would then be
closely supervised by ECAK specialists to
monitor their activities and give additional
technical and moral support.
Art4Development.Net
However, implementing the above program has
been greatly hampered by lack of funds. All
our previous successful proposals have
managed to provide us with limited resources
that have allowed for carrying out one
workshop and an outreach in a region. Another
major setback is that groups we have trained
do not have public-address equipment,
materials for mural production, and other
necessary facilities.
ECAK artists are based in the city and are
fairly enlightened and exposed, whereas artists
from rural areas are not. Lack of art materials,
inspiration and motivation are just a few of the
problems facing the rural artist, whose talent
fades away because his creativity is not valued.
At ECAK we have a mixture of the self-taught
and trained artists who share ideas and
develop individual skills with great creativity.
Each piece produced is unique and special,
giving all members motivation to compete and
bring out the best in them.
The factor of team spirit has produced a
combination of harmony and high quality work.
For example, we have three artists with
different styles and techniques working
together on a mural. This allows the
inexperienced to learn how to be a team
player. In some instances, we have had
performing artists picking up brushes and
joining muralists to paint on the wall. Muralists
do the same at skits, and the final product has
always been stunning. It is quite exciting to
participate in one of the artist’s sessions, and it’s
even more satisfying when our audience
approves and accepts the artworks on site.
There is a large group of visual artists in
Nairobi who use different media to express
their great talents. A number of these artists do
not practice their art with the MDGs in mind, but
as a means of making a living. Most of the
works seen in Nairobi art galleries depict
culture, beauty, landscapes, and abstracts. The
same trend is true all over the world, but our
big problem as Africans is under-development.
We need to address these issues urgently, or
we will experience extinction of all that we
value. The only art that is relevant and
consumable by our community now would be art
for development (AFD). A lot of the art
produced here is not meant for the local
markets but for export. In order for artists to
gain from the local market, we need to educate
our populations to appreciate Kenyan art and
promote it by purchasing art works from us. This
would only be possible after we address
disease, unemployment, and poverty.
ECAK’s present activities include sourcing for
markets of works produced by women weavers,
jewelry makers, as well as works of children
from orphanages and children’s homes. In
addition to this initiative, our artists have
volunteered to mentor young artists from
various special schools in the Nairobi slums in
2008-2009.
Art colleges are few and costly in Kenya, and
our young artists--if not encouraged-- will lose
hope in practicing art. We are also designing
teaching aids for Kenyan lower classes that
relate to our cultures and environment. We shall
recommend and promote these aids for all
Kenyan schools when we complete workable
samples.
Our mission is to empower all practicing artists
to value their work and find the self-esteem
that is so elusive in Kenya. We are working
towards conserving this breed of visual artist,
who is the key to maintaining a physical history
of our culture and heritage. Due to neglect and
market insufficiency related to art pieces, visual
artists have fallen victim to collectors,
middlemen, and other businessmen who have
connections elsewhere. This kind of market
doesn’t benefit the artist but makes him/her
dependent on the middleman.
To learn more about ECAK please visit
http://www.ecak.or.ke/

Art4Development.Net
“A Sea of Words”: International
Short-Story Contest promoting
intercultural dialogue through art
Luciana Grosu, Romania
As 2008 has been selected by the EU to be the
European Year of Intercultural Dialogue, the
Anna Lindh Foundation has launched the
campaign 1001 Actions for Intercultural
Dialogue, which involves the encouragement of
any type of action aimed at the development
of contact between communities and knowledge
of the other in the Euro-Mediterranean area.
The IEMED (Institut Europeu de la Mediterrania)
project, “A Sea of Words”, is located within the
framework of the 1001 Actions for Intercultural
Dialogue and is aimed at promoting
intercultural dialogue among youth.
“A Sea of Words” was a short story contest
dedicated to youth, on the theme of intercultural
dialogue. After the jury’s decision was made
public, all the participants got in contact
through the Internet. However, the jury chose
only 30 young finalists from the EuroMediterranean area and offered them the
chance to meet in Spain in order to experience
intercultural dialogue “live”.
The four-day trip (9-12 July 2008) was a good
opportunity for all young people involved to
learn more about each other’s countries and
cultures, as well as debate over the way they
would like to continue working together in the
future.
The forum, held in Barcelona on 10th July, was
on the topic: “the literary tale as a mean of
intercultural dialogue”. This gave the young
creators the chance to talk to experienced
writers. Technical secrets of good literary
production were shared and everyone had the
chance to talk about what writing means to
each person. A social message was also
present, as all the participants chose to
participate in one of three thematic workshops
on “Conflict, Identities, Migration”.
During the forum’s conclusions, the young writers
expressed their desire to keep the project alive
and involve more people. For the moment, they
would like to have their own website in order to
continue to promote intercultural dialogue
through art.
Youth were also anxious to see their stories put
together in the book the Anna Lindh Foundation
promised to published in four languages:
Spanish, French, English and Arabic.
In addition to the forum, the young writers were
given the chance to meet some experts in youth
policies, by visiting the Catalan Agency for
Youth in Barcelona and the Spanish Youth
Council in Madrid. Strategies of implementing
youth projects were discussed in detail, as it
seemed everyone wanted to learn more about
promoting youth participation.
Catalonia and the Centre for Contemporary
Culture in Barcelona. The young writers were
thrilled to discover the beauty of sunny Spain
and only wished they could also show the others
the beauty of their own countries.
When visiting “Casa Arabe” in Madrid, the
young winners were asked once again to
express their originality and creativity.
Everyone was supposed to create a short story,
drawing inspiration from one of the photos of
the exhibition: “Spain and the Muslim Word:
One Century of Relationship through Images”.
The stories, written in only a few minutes,
proved to be very diverse in style and content,
as well as rich in ideas, thoughts and feelings.
From poetry to literary sketch, from humor to
drama, from very concrete to very abstract,
every story offered a unique vision of the world
and expressed a different cultural message.
Sharing their stories, the young writers felt once
again fascinated by the many faces of cultural
and artistic diversity.
Back home, the thirty “Sea of Words” finalists
reinforced their desire to keep working
together and even came up with some new
project ideas. They also decided to invite all
the other contest participants as well as any
other young person interested in intercultural
dialogue to join the group.
“A Sea of Words”…definitely a story “to be
continued”.
Cultural visits were not forgotten, as the 30
winners were also invited to visit the Library of
Art4Development.Net
Links of interest:
Anna Lindh Foundation for the Dialogue
Between Cultures –
http://www.euromedalex.org/
IEMED –Institut Europeu de la Mediterrania
http://www.iemed.org/
1001 Actions for Dialogue Campaign –
http://www.1001actions.org/
“A Sea of Words” contest webpagehttp://www.iemed.org/seaofwords/en/index.h
tml
“A Sea of Words” official youtube channel:
http://www.youtube.com/user/ASeaofWords
Luciana Grosu Brindusa, is a youth volunteer of Art4Development.Net
and a Romanian student from Bucharest who speaks and
writes fluently in French, English and Spanish. She learnt about
journalism while collaborating in local publications, as well as
editing, writing and supervising articles for the online newsletter of
UNICEF’s Voices of Youth.
magnets, and meditative arts and global
healing workshops. During this day, visitors
were able to view the Project 3 exhibit, as well
as see the permanent exhibits in the Museum,
such as the suffrage banners, political cartoons,
and information about the woman's suffrage
and equal rights movement in the United States.
Among the Project 3: Empowered by Artistry
collaborators were the TreasurePostcards
Project of Arts for Global Development; La
Femme: the Feminine; and Girls Gotta Run, Inc.
The Treasure Postcards Project, organized by
Arts for Global Development, Inc. consists of
contributions from visual artists across the globe,
expressing social and economic issues with
postcard-sized artworks. The educational and
informative medium creates awareness on vital
developmental issues, provokes thoughts,
inspires, and helps raise funds for charitable
causes.

Project 3 - Empowered by Artistry
The Sewall-Belmont House and Museum--the
headquarters of the historic National Woman's
Party and the Washington home of its founder
and Equal Rights Amendment author, Alice Paul- partnered during the Summer of 2008 in a
new collaboration of arts organizations
dedicated to social justice issues and to making
a difference for women both locally and
globally, through individual creativity and fine
arts.
This collaboration, titled as Project 3:
Empowered by Artistry, included a 3-month
exhibition--starting in mid-June 2008--and an
Open House on September 13th, hosting
numerous arts workshops and hands-on
activities and introducing visitors to various
types of arts, including collage, t-shirt design,
postcards to exchange across the globe,
Art4Development.Net
TreasurePostcards at Project 3 Exhibit
First launched in 2006, the aim was to
emphasize the role of arts in the economic
development field and highlight the significance
of protecting humankind's major cultural
heritage sites and artistic creations. Over 100
artwork images of 45 artists from 26 countries
were received and selected works were
exhibited in Washington, D.C., focusing on
issues such as artistic individuality, education,
poverty, gender, HIV/AIDS, environment,
peace, or humanity in conjunction with cultural
identity and preservation.
In 2008, the project was launched again, this
time with donated works of female artists
emphasizing girls and women’s issues, including
health concerns, socio-economic challenges, civil
rights, and more. Over 80 artists from around
the world have donated works that have raised
funds for two women’s shelters addressing issues
around domestic violence and helping women
who have become victims of such cruelty. The
beneficiary from the sales proceeds of the
TreasurePostcards exhibit at the Sewall-Belmont
House is the Brighter Tomorrow for Africa
Foundation [www.brighterafrica.org], which
works to help women, girls, and children in
Sierra Leone.
Girls Gotta Run, Inc., located in Washington,
D.C., focuses on issues surrounding Ethiopian
girls. Ethiopian girls' enrollment in school is
among the lowest in the world. Women and
girls in Ethiopia are more likely to die in
childbirth or due to early marriage than reach
sixth grade. Ethiopia has the highest rate of
vaginal fistulas, a tearing of the vagina during
childbirth that requires painful reconstructive
surgery, often unavailable in many parts of the
world. Ethiopia has one of the largest caseloads
of HIV/AIDS, forcing many girls to quit school to
care for sick or widowed relatives. Parents,
desperate for dowry payments, sometimes sell
girls as young as 12 into marriage.
La Femme: the Feminine is part of the Making
Herstory Exhibition Series, produced by
Authentic Art Consulting and the ThickArt
Collaborative, who have brought together a
group of talented local women artists to
comment on the softness and power of women.
The artwork submitted for this exhibition reflects
women's strength through a feminine lens. The
work that is included represents the diversity of
women, with no regard to the artists' resumes,
demographic backgrounds, or mediums used. In
fact, some of the artists have limited exhibition
experience. This section also includes
submissions from established artists in the area,
which provides a nice mix of work for viewing
pleasure.
There is hope, however, for girls in Ethiopia
today. Seven of the 10 top-earning athletes in
Ethiopia are women, so many girls and their
parents have begun to see running
professionally as a viable career option. Girls
who train are more likely to stay in school. Girls
who stay in school are better able to improve
their own lives and the lives of their families.
The Girls Gotta Run Foundation raises money to
provide athletic shoes, training clothes, food
and coaches’ fees for Ethiopian girls to support
their participation in sports and help them
continue their formal education. Money is raised
through the sale of art, memberships, and
merchandise, as well as through direct
donations and sponsored runs.
To learn more about Project 3: Empowered by
Artistry initiative visit:
http://patriciaeortman.com/girlsgottarun/project3/
index.html

Girls Gotta Run, Inc., Executive Director P. Ortman, and
M. Parrish, ThickArt Collaborative at Project 3
Art4Development.Net
· an artist
REMY MUSINDI, Kenya
I was born in the Kakamega district of the
western province of Kenya in 1965. I am the
middle child in a family of eight children. My
parents named me Seth Musindi, but I am better
known as Remy, which adds up as my trade
name. The artistic talent in me was exposed at
a tender school-going age when I would make
car toys out of wood and clay better than my
peers.
I would say that my talent wasn’t inherited from
any family member because we had no one
with a talent of this nature. I had not come
across any member of my community who was
talented in this field either. I just found myself
paying a lot of attention to handy work and
always strived to perfect anything I created to
its realistic form.
At my upper primary school level, my class
teacher discovered a portrait of the first
president of Kenya, Mzee Jomo Kenyatta,
which I had drawn. He was amazed at the
creativity input in this piece, and moreso
because this type of subject was not offered in
schools at that level. My father whom until this
time never knew that such talent existed in his
son was informed by the headmaster as he
visited the school.
Art was not one of the subjects that a parent
would encourage their children to pursue,
because it was considered as child’s play.
Although nothing was done by my parents or
teachers to encourage or inspire me at this
level, I always used my free time in practicing
by copying superstar pictures from magazines.
It wasn’t until a few weeks after joining the
form-four class, which is the final exams class
for ‘O’ levels, that my eldest sister advised me
to attempt fine art in addition to the other
subjects.
Art4Development.Net
This was a hard decision to make since I didn’t
have a tutor to guide me. Despite the odds, my
determination and self motivation assured me
of success if I tried. I sat in an exam class as a
single private candidate with very little
knowledge of tackling art questions. Not only
did I pass very well and qualified to join ‘A’
levels, but I also scored over 60% in fine art. At
‘A’ levels, my private candidature as an art
student continued. I had to work hard and
research more into the art subject and equip
myself this time to be able to handle an
advanced paper which required more
knowledge.
I obtained a distinction in fine art this time
round, and that confirmed to me that I was born
to be an artist. I studied graphic design and
communication skills at college and graduated
with a diploma. I freelanced as a graphic
designer for a while before settling down to
fulltime painting. My long experience as a
painter with skills in communication concepts has
granted me opportunities to work with NGOs,
the private sector, and the government at
large. I have been selected to represent the
country abroad in several art shows and
biennales. This has no doubt expanded my
focus as a Kenyan visual artist and given me
new energy and inspiration.
Having been involved in many artists’
organizations and committees in Kenya, I have
an ambition to use my talent for the betterment
of mankind through community development
initiatives. I have drawn several community
murals around Kenya, exhibited my works
widely in Nairobi, Uganda, Tanzania, USA,
Italy, and Bangladesh. I am the founder of
Educultural Artists Kenya ECAK, a visual artists’
organization whose initial objective was to
empower Kenyan visual artists to exploit their
potentiality to the maximum. I am married with
four children.
organizations have worked overtime to demand
for women’s rights in a man’s world.
The Endangered Species
“The endangered species” is a piece that
intentionally indicts the world for mistreating
women and children. Women bear men too,
take care of and love them dearly till they
mature. This piece depicts a mother with her
two children, all lost in deep thoughts. The look
of desperation in their eyes tells that their
thoughts are not happy. Around them, there are
more of their kind and in the same situation. This
title could fit very well with wildlife but I use it
here to artistically imply that such treatment can
only mean women and children are not
considered human.

Artwork Statement: ‘The endangered species’
In Kenya as in many other African countries,
women and children are the most affected by
social, economic, and political upheavals.
According to the Bible, women were created by
God to help man achieve higher goals and
succeed in life. Such person should be cherished
and respected, to say the least. However,
women are still considered as property and are
disempowered in many of our societies.
In most of our African cultures and customs,
women have no rights whatsoever, and are
there only to be seen and not heard. They have
not been included in any community or family
decisions, even if it involved their own family.
Their duties have centered around the kitchen,
as well as bearing and taking care of young
children. Women have been expected not to
question any man but obey and serve their
husbands all the times. Disobedient women
were disciplined by whips and payment of
fines, which included livestock.
Men, therefore, have ended up taking all
important positions in the community and
making decisions that favored them in most
cases. Actually, it is not only in Africa that men
have dominated many major positions, but the
world over. Some religions and human rights
Art4Development.Net
Women Pumping
David Kerr, UK
I awake at 5.0 A.M.
to the clatter of women
filling buckets and pots
from the communal well.
As they each take turns
to pump, one athlete,
tucking her wrap tight
around her breasts, exerts
on the lever, huge force
with a fluid snake ripple
from shoulder to knee,
spurting gushes of purity.
When, in thirty years
wells are mechanized
(and they each belong
to private hands) will
she, an ageing hero,
with dying spasms, defeat
the electric pump, and be
immortalized in epic song?
Take Action by Nico Phooko, South Africa
Predators
David Kerr, UK
Our radio announces
that lions have eaten
nine villagers, who
(like us, with no
trees left on the dusty
hills) full of fear,
had at night, torn
down part of a Game
Park fence to use
as thatching frames
or wall posts.
Perhaps the Pajero
people with wise
books and cameras
can next devise
a project to teach
the lions not to eat
us, emaciated ghosts,
but the plump ones
who, behind shiny
tables and blank
blotters, engineer
our poverty.
Art4Development.Net
David Kerr, born in UK, has lived most of his life in Africa (working at
Universities in Malawi, Zambia, and, at present, Botswana). He is a
practitioner of theatre and media for transformation and human
rights, about which he has written widely. His collection of verse,
Tangled Tongues, was published by Flambard in 2003.

· an organization
Tabaka Artisan Centre Youth
Group
Samson Getubo, Kenya
Tabaka Artisan Centre is a not-for-profit
organization working to mobilize young people
to implement community-based projects to fight
HIV/AIDS and other problems in Tabaka, Kisii,
Nyanza, Kenya. In addition to bringing young
people together for voluntary, communitybased initiatives, the organization fosters
income generation among youth and the
broader community through production of
handicrafts.
Community participation and engagement are
hallmarks of the Centre's work. Drawing on the
involvement of local schools, churches,
community groups, and local leaders, the
organization arranges home visits to community
members and sets up local meetings. The aim of
these interpersonal interactions is to discuss, and
develop strategies to address, problems such as
HIV/AIDS, that have been increasing in the
community.
Young people are a particular focus of the
Centre's communication-based work. The
organization acts as the local lead agency in
organizing a global youth service day
designed to foster collaboration among young
people who seek to develop voluntary,
community-based
campaigns/projects
to
address HIV/AIDS, abuse, and disasters.
Creating opportunities for youth to discuss their
needs and share their opinions about what's
going on in the community is a key focus. The
Centre also provides social support for young
community members.
Involving youth in creative/artistic work is part
of an effort to address poverty. The central
handicraft produced by youth associated with
Art4Development.Net
the Centre is soapstone carvings, which are then
sold to generate income.
The Centre focuses
its efforts on young
people because
many of them are
vulnerable to
HIV/AIDS and other
of the community's
problems. However,
they are in a good
position to address
these problems
Collecting Soapstone
because they have
the time and energy to do so.
The Centre's Coordinator - an artist - works on
a volunteer basis. We need assistance to find
markets and develop ICTs skills, and any funds
or other opportunities are most welcome.
Arts and handcrafts from soapstone created by Tabaka Artisans
For more information contact:
Samson Getubo
Coordinator, Tabaka Artisan Centre
P.O. Box 381-40200, Kisii
Kisumu, Nyanza, Kenya
Tel.: +254-726400152
[email protected]
www.tabakarts.org

Doorstep
C. Mali Phonpadith, Laos/USA
Yesterday I stood quietly upon the doorstep of
your distant heart
wondering whether to knock and say “hello”
or blow a kiss and turn to take the other road
Timing- our days and nights together
Did the clock just tick inside your head?
My dreams, they painted a beautiful portrait;
pictures of moments to come –
laughter to share and tears yet to cherish
All the while, your desires were outside our
window
I was too blind or perhaps too afraid
to see your face turning; your hands extending
toward the door
After my sweet kisses, I trusted your smiles
and closed my eyes; my hands always upon
your heart
as I drifted peacefully to sleep.
How many hours did you lie awake;
watching me breathe and wishing you could
love me in return?
Praying you have found a home in me –
Hoping this complex and lonely heart could fill
up from my love
Hoping… hoping you would not need to walk
away this time.
Tonight – I stand quietly upon the doorstep of
your peaceful heart;
feeling satisfied that my love lead you here
Do you feel my silent kiss goodbye?
Has the weight lifted as I walk from your
doorstep
to turn my own corner this time?
Mali Phonpadith, writer/poet, is the co-founder of Reflections Within,
LLC. She has been writing poetry, short essays, and short stories for
over 20 years and is internationally published with various
publications. She has over 400 pieces of written work and was
nominated as “Best Poet of the Year” by the International Society of
Poets in 2007. She is actively involved with community service. She is
the co-founder of the Young Professional Leadership Group, a
member of the International Society of Poets, the National
Association for Women Business Owners, the Lao Heritage
Foundation, the Capital Express Network, the National Association for
Insurance and Financial Advisors, Arts of Falls Church, Board of
Advisors for Inspirion, Inc. and an active volunteer with Teatro de la
Luna.
Art4Development.Net

African Spirit by
Carol Sorhaindo, UK
Ancestral Spirits
Carol Sorhaindo, UK
“In these days of modern, clinical, technological
living, these artworks aim to inspire and evoke
a sense of calm reflection. We are drawn away
from a rich heritage, connection with ourselves
and our Natural Environment. By working
mainly with recycled natural materials, in this
case wooden veneers and slabs, I aim to remind
us of our natural spirit and the need to
reconnect with this in our every day pressured
daily lives. “
Ancestors 8
Carol Sorhaindo works in a range of traditional
materials combined with recycled and natural
objects to explore African and Caribbean
culture and natural imagery. Texture, color and
the themes of ‘Mother Nature’ form the main
focus of her work. The main inspiration is drawn
from her childhood experiences of life in
Dominica in the Caribbean.
www.carolsorhaindo.com
art’ishake subscription:
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Art4Development.Net
· Some news from Art4Development.Net and Friends
…Arts
for
Global
Development,
Inc
(Art4Development.Net) continues its efforts to
promote the awareness of interdisciplinary and
cross-cultural approach to cater for the
educational and social needs of individuals from
around the world…
On May 27th 2008 Art4Development.Net founder
Nil S. Navaie joined Dr. Abimbola Idowu, Health
Educator from the African American Health
Program of Montgomery
County
Department
of
Health and Human Services
(DHHS), and two students
from the Goucher College
at the Global Health Council
Annual
Conference
to
conduct an arts-infused
workshop titled “Using the
Dr. Abimbola Idowu
Arts for Health Education
and Communication: The
Experience of the Peace
Tiles
Project
and
HIV/AIDS“. Global Health
Council (globalhealth.org)
is the world’s largest
membership
alliance
dedicated to saving lives
by
improving
health
Students from Goucher College
throughout the world. The
Council
serves
and
represents public health organizations and
professionals working in more than140 countries.
During this workshop, conference participants
were able to learn to use collage as a tool for
health communication. This included expressive,
educational, therapeutic, and research-oriented
approaches that engage young people in the
creation of peer-to-peer health messages. These
messages can be then combined into large-scale
murals for public education and advocacy.
Specifically, participants were able to enhance
their skills in:
 Designing an arts-based learning activity
 Use of collage and mixed media as
Art4Development.Net

techniques for self-expression and story
telling
Use youth-produced artwork to produce
public murals and other health
communication strategies
Peace Tiles at Global Health Council Conference
The workshop was concluded with a discussion
around ways this process might apply to local
contexts and a tile exchange. Workshop
participants consisted of health advocates,
academics, researchers, health specialists, and
nonprofit experts in health and human
development fields. One of the workshop
participants, Hasina Kharbhih from India, wrote
later in her blog: “This (workshop) has visualized
that similar methodology is being used in India,
also at Impulse NGO Network and in other
Commonwealth countries. The use of these
innovative ideas would reach out to the
community and bring about a larger
participation, so that the target population can
be covered. In countries like India which have a
culture of traditional music, theatre and puppetry
can be used as a medium to attract community
response. Besides music young people can be
reached through radio and films.”
Ms.Kharbhih, a social entrepreneur, is a
Founder, President, and presently Team Leader
of Impulse NGO Network, a social organization
working on issues of child trafficking, HIV and
AIDS intervention, and livelihood
initiatives for rural Northeast India.
support
The Global Peace Tiles project is a fun way to
involve people everywhere in arts-based
learning and sharing. To date, more than 3,000
people - from 7 to 70 - in over a dozen countries
have produced thousands of works of art that
have been combined into vibrant murals.
Produced in structured workshops, these tiles have
been used in many ways - to respond to urgent
issues like HIV/AIDS (advocacy), to explore
aspects of community (self-expression), to learn
more about a topic like children in conflict
(education), to build connections among groups of
people (exchange), and to work through trauma
(therapy). To learn more about Peace Tiles visit
www.peacetiles.net
On September 13th, 2008 up to 70 individuals
including 40 Girl Scouts attended an all day arts
event at the Sewall Belmont House and Museum,
the headquarters of the historic National
Woman's Party and the Washington home of its
founder and Equal Rights Amendment author
Alice Paul. The event was part of the Project 3:
Empowered by Artistry Open House initiative.
Project 3 consists of a collaboration of three arts
organizations dedicated to social justice issues,
making a difference, both locally and globally,
through individual creativity and fine arts.
Arts for Global Development, one of the
educational arts organizations
of Project 3 facilitated the
TreasurePostcards™ workshop
to teach kids making artworks
in the size of 4 x 6 inches. The
purpose of the workshop was
to help girls explore the
creative process of making
TreasurePostcards,
depict
thoughts and emotions, and
generate works that emphasize
personal dimension to local
and global issues. These
artworks encourage others to
share their experiences, send a message of hope
and inspiration to underprivileged children –to let
them know that they are not alone. “This hands-on
arts workshop is one of the first steps to initiate
Art4Development.Net
dialogue between girls in the U.S. and Sierra
Leone and we hope that there will be more sister
to sister support for the Sierra Leonean children
in urgent need” said Nil Sismanyazici-Navaie,
founder of
Art4Development.Net.
The vivid inspirational
postcards created by
the girls scouts, ages
between 5 and 17,
will be shared with
girls in Sierra Leone in
the coming months.
“Remember to always
smile! You’re a strong
woman who has an
incredible life to lead”
wrote Natalia, one of
the girl scouts as a
message behind her
card.
A Brighter Tomorrow
for Africa Foundation,
a charitable
foundation established
under the 501(c)(3)
section of the US tax
code, improves the
lives of women and
children in the West
Coast
country
of
Sierra Leone through
financial support of
small,
communitybased organizations.
These
organizations
provide food, clothing,
medical
services,
counseling
and
education to children;
raise the potential of
Sierra Leone women
through education and
skills training and
combat
corruption
through
information
and public education.
Founder of A Brighter
Tomorrow for Africa,
Sarah Armstrong, said, "Sierra Leone is rated the
poorest country in the world by the United Nations.
It is in desperate need of help; and working on the
grassroots level to provide nutrition and education
to the people of this nation can really make a
difference. It is wonderful to see girls of such a
young age wanting to do this through A Brighter
Tomorrow for Africa."
The TreasurePostcards project recently moved to
Baltimore in conjunction with the RED exhibit led
by the ThickArt Collaborative. The artworks will
be on display until the end of January 2009.
Details of the exhibit can be found at:
http://www.art4development.net/tpp.html
____________________________________ Learn more about the projects, join
Art4Development.Net, and engage
in making the ‘arts’ and ‘net’ work
at our website:
www.art4development.net
“…voices of creative individuals and organizations in helping to cater for the social and economic needs of people and communities…”
To receive a copy of CreativeChange WorldWide
publication, please contact Arts For Global
Development at [email protected].
Art4Development.Net
Art4Development.Net
· notes
Public Art and the Planning Process Seminar
Part of a Training Series to place public art within
the context of national, regional and local
planning and other policies
10th International Conference on Arts and
Cultural Management (AIMAC 2009)
Location: Birmingham, UK
Date: June 28 – 01 July 2009
Date: January 27, 2009
For more information please contact
[email protected]
For more information please visit
http://www.ixiainfo.com/opportunities_events/index.htm
All Together Now: Building Strong
Communities Through Arts and Education
Partnerships
Location: New Orleans, USA
Date: February 12-13, 2009
For further details please visit
http://www.aep-arts.org
Location: Dallas, Texas, USA
10th International Conference on Arts and
Cultural Management (AIMAC 2009)
Location: Dallas, Texas, USA
Date: June 28 – 01 July 2009
For more information please contact
[email protected]
MIDEM 2009 - Featuring the world's music
market
The Durban International Film Festival
Location: Cannes, France
Date: July 22- August 02, 2009
Date: January, 17-18 2009
http:// www.midem.com
“Art as a Catalyst for Caring and Sharing"
3rd Annual World Community Arts Day
Location: Worldwide
Date: February 17, 2009
http://www.communiversity.org.uk/worldcommu
nityartsday.htm
Location: Durban, S. Africa
http://www.cca.ukzn.ac.za/
Are you organizing an arts, social change
and development event?
Get in touch with us and we’ll share your
announcement.
Do you know
any funding resources
(fellowships, awards, grant/donor
and partnership opportunities)?
Let us hear from you
and we’ll post the details for those
interested readers seeking support!
::email:: [email protected]
Art4Development.Net
Help Give the Gift of Music!
Donate new or your used instruments to help create
The Friends of Orphans Brass Band
 Please visit our web site for
more information on how you
can help change the lives of
these children! Go to
and click on the UgandART
link.
Arts for Global Development and
Friends of Orphans have teamed
up to help create a Brass Band as
a way to help unite war torn
communities and rehabilitate
former child soldiers and war
orphans in Northern Uganda.
© Photographs by William Meeker. The images are from the IDP Camps in Pader District of northern Uganda and are solely for
documentary purposes. They are not intended for commercial use. The children were not photographed to endorse Arts for Global
Development or Friends of Orphans. The images should not be used for any other purpose without written consent.
UgandART
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UgandART
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UgandART
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UgandART
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UgandART
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UgandART
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UgandART
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UgandART
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UgandART
[email protected]
art’ishake | Issue No 9 | Fall/Winter 2008
Arts for Global Development, Inc. [Art4Development.Net] is an international nonprofit voluntary
initiative with a purpose of furthering interdisciplinary, cross-cultural, multi-sectoral, and creative
approach in social change and development.
Art4Development.Net aims to facilitate creative sector and stakeholders of development together
empower socially and economically disadvantaged individuals and communities worldwide;
particularly children, youth, and women. The initiative works for promoting this awareness, forming
a worldwide network by making the best use of ICTs, and furthering any form of art in tackling the
challenges in the development field and transforming societies into more socially conscious,
tolerant, responsible, and creatively active groups of people.
Art4Development.Net
Art4Development.Net has no religious, political or governmental affiliation.

a publication of Art4Development.Net

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