Why Public Art by Kids Matters so Much

There's a rambling little debate going on in my community right now about what kind of mural should go up on the lock-block retaining wall that acts as the de facto welcome sign to our island. This wall faces the ferry dock, and forms the north side of the pedestrian walkway from the dock to the rest of the island. This is the plain concrete wall that, for generations now, has welcomed commuting adults and teens, newcomers and old-timers as well as untold numbers of tourists to our small island. Sometimes it sports blackberries trailing down to catch our shoulders as we pass by, sometimes obscene or public-shaming graffiti, and almost always an assortment of hardy edible weeds that pop out from its crevices. But most noticeably, it's a boring grey wall of concrete lock-blocks.

Once this wall had a vast mural painted by kids from the local school–each block was painted with scenes of local wilderness or animals. Another time there was a big plywood mural of the island and local information, painted with students from our middle school. Yet another time, the wall was the stage for a temporary piece of public art made by one of our local artists, which peeled and disappeared over time. For a few years now, it's been just a boring grey wall of concrete lock-blocks. 

A very wide photo of an eight-foot-high lock-block concrete wall, painted pale blue, with a diversity of children's paintings on it. It looks like each child has used one block to paint. The lowest tier has mainly paintings of whales, dolphins and fish (and a rainbow), the middle tief has mainly paintings of trees and land animals, especially deer, and the top tier has paintings of trees, landscapes, many birds, a sunset, and a big rainbow.
The Nex̱wlélex̱m/Bowen Island lock-block wall, as it was once painted by local kids.
Photo by Singne Palmquist

So now there's a call out for proposals from artists who would like to paint it, and an ongoing debate about whether it should have been offered to the island's children. I'm an artist; I'd love to have my work up in my own community and in fact have been talking with other artists about a collaborative work depicting local wildflowers for this wall. I love the idea of something that pleases and educates at the same time. But now I'm going to champion kids' art, for this wall. Because I think the many benefits of a mural painted by local kids far outweigh those of a more polished, "adult" mural.

Belonging

One of the best ways we can build sustainable community is to encourage engagement and concern for home and community. We need people to care that this is their home and feel that it deserves looking after. We care about things we feel ownership of. Kids feel ownership of their artwork–especially artwork that was designed and developed by them and displayed publicly in their home.

Why not just put their artwork up on the fridge? Well we can, of course, but not "just". It's not the same as being given the respect of one's community by being welcomed to paint right on our most visible wall. Being welcomed by one's community is, of course, the nature of the meaning of "home", and we want our kids to feel at home. We want them to grow up with the idea that this is their home, that their home matters, and that how they engage with it matters. We want them to feel seen; to feel responsible; to feel that what they do makes an impact on their home and future. So we have to give them that responsibility.

Imagine how it feels to children who painted the wall, say, in grade five, to then be walking past it twice every weekday on their way to and from school in grade eight. Some will tease each other about it; some will feel embarrassed, some will ignore it, and some will feel a quiet or even loud sense of pride. Almost all of them will feel connection. They'll feel a sense of belonging. Maybe they'll walk down to the dock to meet visiting relatives, and escort them past the mural they painted. Maybe they'll take selfies with their contributions. Maybe they'll move away and come back to find their marks still here, a few years later. 

Not every child will have an opportunity to paint this wall. Maybe just one or two grades, and maybe it will be repainted every five years. But the kids who didn't paint it may have siblings who painted it. They may just have witnessed it being done and feel the tendrils of connection reaching out. They'll know that this mural was done by and in honour of the children of our community, and they'll feel valued.

A large plywood mural is almost square, with a large painting of a green, tree-covered island, with beaches, houses, lakes, and a few sailboats, sea mammals, and birds in the blue water around it. The frame of the painting is covered with a series of small paintings of landscapes, seascapes, and other wilderness.
Nex̱wlélex̱m/Bowen Island plywood info-mural painted with local youth.
Photo by Singne Palmquist.

Learning

As a parent and educator I'm quite horrified by the many ways children are silenced in our culture; their ideas and skills unvalued, as they're seen as "still developing" in the system that is meant to develop them. Have we forgotten the meaning of development? It means growth. Children are not vessels into which we dump our own ideas for eighteen years and then trust to follow along like good little citizens. Children are growing people with their own ideas and skills and values, and they learn from experience. 

Everybody learns from experience. You can read as many manuals as you like about how to fix your appliance, but the first time you actually open the appliance up is when you really start learning. So what do kids learn by painting a mural in their community? So much. 

They'll learn simply from experience about materials: what type of paint is needed for this project? What chemical properties make it suitable and why won't classroom acrylics do the job? What types of scenes are acceptable, and why? Why has the council requested local flora and fauna, and what exactly are our local flora and fauna? What is the political and social work that goes into a project like this? And all the various applied maths, sciences, communication and language skills that come as a matter of course in the creation of this mural. 

Why can't they just learn those things in school? Why can't they paint the school walls? Why does this painting have to be making a visual chaos of our lovely manicured community? 

Chaos = Development

Because growth, development, and learning need chaos to thrive. It was the chaotic and random assortment of elements that evolved to become life as we know it, today. It was and is a chaotic assortment of peoples, places, climates and experiences that make humanity as we are, today. It was the chaotic rambling experiments of toddler-hood that gave our children the chance to develop skills they now depend on, like language, social skills, gross motor skills and dexterity. They learned all of those things from observing and experimenting, free-range, under our benevolent supervision. They didn't learn them in a school, from textbooks. They learned them because they felt at home in their homes, and made big messes and had big accidents. Our homes were chaotic. Now our kids are older, and it's time for them to be out in their wider community.

Our children are part of our community, and they are our community's future. Instead of being tucked away, seen and not heard, they need to feel they are part of it, so they can grow and thrive here.

A two-and-a-half-tier concrete lock-block wall is covered with medium blue paint, and images painted by children, including mainly fish and indigenous motifs, stars, sun and rainbows, people paddling indigenous canoes on the water, and Spongebob.
Kids' mural on lock-block wall at the Alert Bay ferry marshaling area.
Photo by Emily van Lidth de Jeude

Responsibility

We look after what matters to us. If we want our children to grow up to look after their home and community, we need to allow it to matter to them. 

We used to have an old cherry tree near the lock-block wall in the cove. Kids would climb it and hang out there, waiting for their commuting parents to walk off the boat. But eventually someone injured himself falling out of the tree, and then the tree was deemed too old, so was surrounded by fencing, off-limits to our kids. Now the area has been beautified as part of an effort to create a more visually-pleasing entrance to our community. There are all sorts of gorgeous plants there. I love them. But do the kids? Do they care about a tidy garden that they were expressly excluded from, and forbidden to play in? I asked my kids. My daughter says, "It's just another place you can't go." And how long before that garden is a dumping place for their litter and midnight beer cans, because it was never something they cared about in the first place? We look after what matters to us.

So how about a playground? What if we put in a playground at the ferry terminal, and the kids can play in blissful harmony with the commuters and traffic and beautiful gardens. Sure, but what kind of playground? Is it creative, dangerous, messy; fun? Because those are the things that make a playground worthwhile. Imagine an area full of tools, wood, climbing-trees and ropes; dirt and shovels and paint. That would be an amazing place for feeling belonging, learning new skills, and developing a sense of responsibility. But these playgrounds tend not to be condoned, these days, because of the chaotic look of them in our otherwise manicured landscapes, and because parents are afraid of danger. But danger–risk-taking–is essential for learning and for developing a sense of responsibility.

A close-up photo of a different part of the lock-block mural shown in the previous image. All medium blue background, with paintings of hearts, suns, rainbows, and fish. The mural boldly says "Home", and "Say NO to farmed salmon".
Another section of the Alert Bay mural. Photo by Emily van Lidth de Jeude.

Risk-Taking

If we never take risks, we can't learn to manage or mitigate them. Learning is all about taking risks, and risky play is a big part of progressive education all over the world. Just like babies learn to walk by taking risks and falling, teens learn to navigate social situations by taking risks and making mistakes; suffering heartbreak and social exclusion. We take risks as adults when we choose partners, careers, or make big purchases. We learn from all of those risks, and that's how we grow as individuals and how we evolve as a species.

Our kids are part of our communities; our species. They need to take risks like painting a public wall or climbing public trees so they can learn how their community works. You know what the boy who fell out of the tree learned? In addition to some of his physical limits, he may have learned that he was valued in his community, when he was seen, held, and tended to by an adult who was not his parent. 

Kids who paint walls take many risks, in choosing what and how to paint, in consulting with their peers, their supervisors, and their community, and they take social risks in walking past the mural they painted every day for a few years and navigating the conversations that arise. They take personal emotional risk in putting their artwork in a public space and facing the opinions of their community. And that social risk helps them to grow into their community–to become a part of it, deeply and permanently because they grew and thrived there.

A community that sits in stagnant contemplation of its perfectly manicured surroundings is not growing, thriving, or evolving. And who wants that?

It's not only kids taking risks in this scenario. It's us, too. It's the adults who give the kids our most prominent walls to paint and just trust them. That's a huge risk, especially for those of us who are quite afraid of the chaos of childish experimentation. But it's a risk we have to take if we want to grow as individual adults or as a community. Is it like giving our living room wall to a bunch of monkeys with paintbrushes and walking away? Maybe. But I'd rather have something unexpected that I can learn from than live in a stagnant community. It's a risk we have to take if we want to grow. 

As a community we are growing. Our kids quite literally are our future, and if we want them to grow into responsible adults who care about their home, then we need to make them a part of it, now.

Originally published in May, 2021.

Community as a Way of Life

Outside on a lawn, with leafy green trees in the background, dancer, teacher, and community organizer Mara Brenner sits surrounded by a large group of her young dance students in brown, green, and orange leotards and flowy skirts. Most are gesturing with their arms, and three of the younger children are being held aloft by others.
Mara Brenner with students of Gabriola Dance, 2019. Photo by Inspired Spirits Photography.

When I was 26, bewildered and a bit in shock with the reality of new motherhood, I took my baby to our local Family Place, and sat around the edges of the activity, watching. Whining lines of Suzanne Vega ran through my head: "in the outskirts, and in the fringes, on the edge and off the avenue"… as my baby nursed his way through the stress of a new situation. Out of the fray of mothers and toddlers and snack foods and plastic dishes came the most welcoming smile. This woman actually held out her arm to me, beckoning me to join the group. And Mara became my friend.

Years later, as we sat around her trailer home together, watching our kids play and leap from the furniture, I complained about my back issues, and Mara deftly used the opportunity to attempt to convince me to take the adults' ballet class that she taught in the evenings. I told her 'no way'. I explained that ballet left me behind when I was nine and had a pot belly and knees that didn't straighten all the way. She convinced me anyway, and next term I cautiously and inelegantly stepped into her class. 

Mara doesn't just teach ballet. She's an accredited Pilates instructor, and a passionate life-long-learner of human anatomy and movement. She looked at me while I attempted the ballet moves and explained exactly what my muscles and bones were doing and how I could optimize for my personal development. When she didn't have an answer, she went away and researched or thought about it until she figured it out (yes – that's the definition of being a life-long-learner, and an expert!) She sees people not only as moving, learning bodies, but as humans with struggles and opportunities. I soon became one of Mara's 'Tequilarinas' – the group of adults who danced until 9pm and then went for a tequila at the pub, together. After a year, my back was healed. I started wearing superhero costumes to ballet.

Through her friendship, clear strong vision, and unflinching determination, Mara gave me more confidence and opportunity than any other teacher I've had.

A group of dancers in brown and green leotards and flowy skirts stands around a tree stump, while two of them perform a lift, downstage. The dancer being lifted appears to be in a grand leap, with one arm reaching for the sky.
Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.

Mara Brenner taught our island's children and adults ballet, and also used her company MaraGold Productions to bring world class artists to perform not only on our small island, but at various Canadian venues. She worked her dancing feet off one hundred percent of the time, not just giving to her community, but building it. She exemplified a kind of character strength and courage that's hard to maintain, but essential in a thriving community. Eventually her community turned its back on Mara and her family.

Our land use bylaw only allows trailer-living for a brief period of time while landowners are building a permanent dwelling. As you can imagine, building a home on the wages of a ballet teacher and a glazier, while also raising two young children, takes longer than it otherwise might. Mara and her partner, Stu, lived in a trailer on land they owned, while slowly building their permanent home. At the point they were forced to leave, they had only built the foundation. Theirs was almost an idealist story of dreamy island living, until our snooty bylaws pushed them out.

A group of dancers in brown and green leotards and flowy skirts lift the oldest dancer along, where she has fallen from the stump she initially stood on. They represent an apple tree, falling.
An older boy dancer in a brown shirt and black leggings stands off to the left, his hands crossed over his chest, looking solemnly in the direction of the tree.
Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.

So they left! Mara and her family found their new home on Gabriola Island, and quickly turned the small outbuilding into a dance studio. Around the same time she was gifted her own ballet teacher's extensive collection of ballet school costumes, and she threw all her extensive skill and passion into Gabriola Dance. Last weekend I went to see her year-end showcase, and I was moved to write this article.

A collection of dancers in brown and green leotards and flowy skirts stands smiling and gesturing. They represent an apple tree. An older boy dressed in a black t-shirt and leggings holds a basket in one hand, and looks towards three younger dancers on the right side of the stage: A young oy also dressed in black, and two very young ballerinas, in pinkish-orange tutus.
Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.

Finally with a permanent roof over her head on Gabriola, Mara pulled everything out of her heart and poured it into ten years of parenting and teaching in her new community. This 10th showcase felt to me like watching my friend stitch up all her passions and skills into one beautiful, powerful package. It was in many ways her gift to the world. 

Two contemporary dancers in brown leotards and flowy green skirts stand centre-stage. One leans forward, while the other one leans over her, back-to-back, in an expression of sorrow and exhaustion.
Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.

I think we all hope we can make a difference in the world – at least leave it a slightly better place than we found it. These days many of us are just hoping we save enough of the world that our children will grow old before it's gone. So Mara developed a dance performance of Shel Silverstein's 'The Giving Tree'. The piece brings together students of many diverse ages and training levels. It's profound and moving, but Mara didn't leave it at that. Working on this project brought up a great deal of conversation among students about climate change, and it became clear that she needed to deal with the prevalent angst and anxiety that today's children harbour around this topic. So she had all the conversations with them, and at the end of the dance showcase, she hosted a talk back with biologist Melanie Mamoser and registered clinical counsellor Caitlin Kopperson, to discuss the affects of climate change on childhood anxiety. One of the most urgent questions, of course, is 'what can we do?', and although there's no clear answer to that, there were some good ideas, and the conversation at least left me feeling hopeful that people were talking about it, and that children's voices are being heard in this discussion.

A tableau of dancers in brown and green leotards and skirts represent an apple tree. An adult dancer in a brown leotard and green skirt reaches out to hand a red apple to a boy in a a black t-shirt and leggings, who stands on the left side, ready to put the apple into a basket.
Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.

With The Giving Tree, Mara does something I hope we all manage to do in our lives: She orchestrates her many gifts into one grand oeuvre, showcasing not only the work of her students and other community members, but pulling them all together in a kind of hopeful community invocation. May we all have the courage to live our hearts' dreams and create a better world in doing so, each in our own ways, and all within community.

A black and white image of an old man sitting on a stump, leaning on a crutch. In front of him, a young dancer dressed in black kneels on the ground, his hands resting on the backs of two very young ballerinas in tutus, curled up on the floor, in front of him.
Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.

Resources:
Gabriola Pilates and Dance: http://maragoldtheatreproductions.blogspot.com/p/dance.html

Inspired Spirits Photography: https://www.inspiredspiritsphotography.ca/

Originally published in June, 2019