In the resource rich jungles of Myanmar’s Kachin State, young Kachin students living in internally displaced people’s camps, traumatized by a sixty-year war, are exorcising their psychological demons and preserving their culture through painting and poetry.
In the wake of the 2010 Yushu earthquake, celebrated Indonesian artist, Arahmaiani, spent ten years working with Buddhist monks on the Qinghai-Tibetan Plateau to cultivate sustainable rebuilding projects and amplify the voices of women in Tibetan civil discourse.
During the early 1990s, when cod stocks in Western Newfoundland were on the brink of extinction, a moratorium on fishing caused the “largest mass layoff in Canadian history” and threatened the cultural fabric of coastal communities reliant on the ocean for their livelihoods.
On the Caribbean coast of La Mosquitia, Honduras, where lobster fishing and drug trafficking are the only forms of gainful employment, isolation, crippling corruption and the drug war has wrought devastating consequences on the indigenous Miskito people.
Graffiti and street art can be controversial, but can also be a medium for voices of social change, protest, or expressions of community desire. What, how, and where are examples of graffiti as a positive force in communities?
[roundtable_menu] [contributor]Pauline Bullen, Harare [excerpt]For many who want to surround themselves with art that makes them feel good, the work of the graffiti artist may be too bold or too