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The importance of people owning their own healing agenda
The importance of people owning their own healing agenda
We started the process of using watercolor illustrations in 2013 in Somalia when we realized that the majority of women we wanted to work with were illiterate. However, the images opened up a new door to storytelling and we realized that the use of paintings was for all Somalis who shared the oral tradition of storytelling. The storytelling and images allow people to see themselves and their lived experiences in the images.
In this way, art is carried into villages and homes in ways that heal. The use of the arts can contribute crucially to the healing process that must be a part of the conflict transformation journey that Somalia is currently embarking on. The production and consumption of arts and culture offer a constructive means of expression for individuals and communities serving as a basis for ongoing dialogue. Locally developed, culturally driven messages counter the current bias towards Western-style messaging and language, which does not connect to citizens.
in partnership with the
in partnership with the
Somalia Youth Development Network (SOYDEN)
Somalia Youth Development Network (SOYDEN)
Context
Context
In early 2021 we watched as a political crisis erupted into violence in Mogadishu in the wake of conflict around the elections. In conversations with Somalis everyone has talked about the real need to engage in real social cohesion and healing process. In 2013 the Quraca Nabadda (QN) was developed and piloted in several locations throughout Somalia as well as with leaders and disengaged combatants.
Even without the political turmoil at the national and regional levels, these issues contribute to a cycle of violence that still grips many local communities. And these lower level social and cultural indicators will be how national and regional leaders pull people into more violent conflict. This cycle of violence is a pattern of thought and behaviour that locks people into seeing themselves as victims and others as perpetrators of violence. The cycle of violence leaves individuals traumatized and destroys trust within and between communities and clans. It stops people rebuilding lives, leaves communities fragmented, increases the appeal of extremist groups, inhibits sustainable development, and weakens local governance.
Cultural
Cultural
Somalia is a culture that responds to oral tradition and artistic tradition. Somalis have a high regard for art in all its forms: including music, theatre, painting, poetry and literature. Art is the reflection of the Somali culture, both historical, as well as new, contemporary aspects. Given al-Shabaab’s antipathy towards these mediums, the opportunity to reignite communities by reconstituting the traditional arts is even more potent.
Name and Logo Creation
Name and Logo Creation
Language is a critical factor when adapting materials to a specific context and culture. The language used influences the level of reception and understanding of the curriculum content.
Using local languages to name the program and describe certain items enhances the participants’ reception of what is being presented to them.
‘Quraca Nabadda’ is Somali for the Acacia tree or ‘the tree of peace’. Somalis have sat together under this tree to talk, laugh, cry and celebrate for centuries. It is also the tree under which Somalis have traditionally met to resolve disputes.
Highlights
Highlights
Here are some sample pieces of the Arise and Shine curriculmn that was created for the Arise and Shine program
Adapting the cycle of violence
Adapting the cycle of violence
Participants review the different elements of the cycle of violence. In both the "hurting-self" and the "hurting-others" this is where one can see many everyday mental health issues being explored and explained from their own context. In many ways, this becomes a list of how people can tell when their friends, family, and neighbors are distressed and unwell. Participants explore through individual brainstorming all the different issues that they feel are a part of the painful cycle. Afterwards participants sort and group the ways people hurt themselves and others. Finally, they are ranked and prioritized. Lived experience is given space, as well as, what people observe in others in their daily lives.
The same is done for the "breaking free" element but categorized by truth-telling, forgiveness, justice, peace, and reconciliation.
The Artist
The Artist
Celebrating the artist
Celebrating the artist
Abdullah Abdirahman Adbullah "Alif" (1970-2018)
Watercolors
Watercolors
We use illustrators and painters who use watercolors. They paint from stories and definitions from the adaptation workshop We have learned that graphic/computer-generated artwork does not have the same emotions. Involving the artist in the adaptation workshop is key.
We have learned because most images that people see today come from newspapers and social media. Positive images for Kenya are not the norm. Very little focuses on what is healing within the culture. Almost everything that people see about themselves and their context is about violence, corruption, and pain. COVID19 has not helped change this narrative. Thus showing that there is already many positive and healthy practices that happen everyday in society is an important part of a strenth-based, healing-centered approach.
Some of the visual images are violent. The community members who are a part of the adaptation process note such images are a part of the truth-telling process of a violent society. They feel that including images that are uncomfortable is important as it documents the harsh realities of people's lived experience. They note that such images are not re-traumaizing but instead are an important part of their healing process. They insist on difficult images in order to not only engage in individual healing but also a more collective healing as well.
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