Painting a new perspective

As part of the Samosa Festival 2016, a mixed bag of creatives not only produced public art that enhanced and uplifted a neglected community but interacted with community members in an activity that showcased the true power of art, Craig Halliday reports.

In July 2016, a mix of established and up-and-coming artists from across Nairobi descended on Eastleigh, a suburb in the east of the central business district, as part of the Samosa Festival 2016. Mandated to create artwork that ‘spoke’ to the community, the artists used graffiti to paint a different picture of this vibrant part of the city, which the media stereotypically associates with illegal immigrants, piracy, refugees, crime and terrorism.

To accomplish this, the artists first acquired a foundation of knowledge about the community, its needs and interests by consulting community members. In the resulting work, they painted 10 buildings and over half a kilometre of wall with artworks showcasing powerful and aesthetic social messages and imagery.

Using icons to symbolise identity

In every society, role models are a source of inspiration and a marker of its highest values. In recognition of this, the artists painted national and local icons, as well as images of the everyday person, in a number of murals.

In the estate of California, the artists painted a portrait of Victor Wanyama (Kenya’s football team captain and English Premier League player), which beams across the playing field close to where he grew up. Wanyama’s attitude of ‘If you work hard, then dreams do come true’ is captured in this mural, acting as an everyday day reminder and inspiration to never give up, no matter your circumstances.

A mural of Victor Wanyama in California painted by Swift 9

California also holds a special place in Kenyan hip hop, which is known as ‘genge’. In acknowledgement of this fact, a huge mural was created in honour of the Kenyan hip-hop star E-Sir, who tragically died in a road accident in 2003. His portrait is painted alongside those of hip-hop artists Nonini, often referred to as ‘the Godfather of Genge’, and Jua Cali, who co-founded Calif Records. They were both brought up in California and popularised genge music. This mural celebrates the estate by depicting its positive roots and aligning its identity with Kenyan hip hop.

In Pumwani, local residents became the symbols that went up on the walls of their community: the goal keeper for Pumwani United; a young boy eating a watermelon; a young man from the adjacent car wash. On another wall, facing the road, is the image of the Mkokoteni, a manual worker who pulls a handcart, often laden with heavy goods. He is a ubiquitous feature on this street which, in the words of the influential Kenyan journalist John Githongo, “represent the real spirit of Kenya: striving and entrepreneurial”.

The use of visual narratives and text to spread positive messages

A number of artists in this project chose to use visual narratives and text that promoted human values and ethics. The use of text in both English and Kiswahili spread messages of peace, unity, encouragement and respect.

Alongside the walls next to a large school in Eastleigh, artists created works that communicated the importance of education. Some artworks encouraged young people to chase their dreams, to be ambitious and to aim high. Artist Viktart told me that communicating these messages through the medium of art was important because “in Kenya there is not a strong creative culture, art is seen as a leisure activity. As a result, people stop imagining things for themselves.” Viktart hopes his art and this project will (re)ignite young people’s creativity.

Other artists created work that spoke about maintaining strong family values and respect for all in society – strategically located on the side of a newly built community and chief’s compound, where people go to settle disputes civically.

Local children admiring the artwork in Pumwani

Community reaction and immediate impact

The community responded positively to the artworks brought into their area. One teacher at a local school said that seeing these messages every day when they arrive at school would motivate students to work harder. “There is nothing like this in this area, it really is something new.”

A local NGO worker said, “I am pleased that art is being introduced into this area because people in this community have no access to local art.” The artists involved in this project were young people and their visibility in this creative form of community development did not go unnoticed: For instance, one woman said, “This area has a high crime rate. When young people are seen not being idle, it shines a good light on them. I hope it will inspire other young people in this area to do good.”

As much as this project was about bringing public art into a community that otherwise has little access or means to experience art, it was also about the process of art and engaging the community in forms of creative community development. Young people mingled with the artists and eagerly watched, questioned and engaged in the artistic process. The longer-term success of this project will hopefully lie in the fact that it engaged community members throughout the artistic process. This interaction brought together communities and people whom otherwise would not have met. So while the artworks themselves will hopefully create long-lasting positive messages and provide a new aesthetic environment and ‘public space’; the creative and physical process of art – which allows members of communities to build bonds of trust, cooperation and reciprocity with one another – has contributed to building social capital and cohesion and increasing civic engagement. Such is the power of art.