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PHILADELPHIA, PENNSYLVANIA Mural Arts Program Engages Community Members in Murals That Improve Aesthetics and Transform Neighborhoods

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PHILADELPHIA, PENNSYLVANIA Mural Arts Program Engages Community Members in Murals That Improve Aesthetics and Transform Neighborhoods PHILADELPHIA, PENNSYLVANIA Mural Arts Program engages community members in murals that improve aesthetics and transform neighborhoods “Murals work on a symbolic level, providing opportunities for communities to express concerns, values, and aspirations: their yearning to be free of violence and fear; their hope to create a better world for themselves and their children; their desire to remember those who were overcome or who overcame...They are our dreams manifest.” —JANE GOLDEN, DIRECTOR MURAL ARTS PROJECT, FOREWORD PHILADELPHIA MURALS AND THE STORIES THEY TELL PHILADELPHIA MURALS AND THE STORIES THEY TELL PHILADELPHIA MURALS AND THE STORIES IN SECRET BOOK, 1999. ervent in the belief that public art has the power support civic pride. MAP is responsible for the creation F to eradicate urban blight and create community of over 2000 murals since the mid 1980’s.1 change, Philadelphia’s Mural Arts Program (MAP) fol- lows a community participatory model to transform THE PLACE graffiti-scarred walls into scenic views in diverse neigh- borhoods citywide. In the process of creating murals MAP operates primarily in low-income neighbor- that feature portraits of community heroes, tell neigh- hoods across Philadelphia, reaching residents of all races borhood stories or display abstract designs, MAP fos- and ethnicities. As the popularity of murals increases ters connections among neighbors and word spreads, murals are now and forges new bonds between res- being created in wealthier neigh- idents (including at-risk youth), borhoods, as well. During the first “People have an intuitive desire professional artists, and mural fun- five years of the program, murals to have art around, and murals ders. In addition to helping artists were painted in largely African make art accessible. and residents collaborate to turn The program’s grassroots, American communities. MAP their artistic visions into reality, bottom-up approach also works later expanded to Latino commu- MAP offers art education programs to empower residents for whom, nities and then to Asian and White citywide. MAP works alongside oftentimes, art in their communities, eventually encom- Philadelphia’s diverse communities neighborhoods equates to an passing the full diversity of Phil- to use public art to revitalize com- occasional billboard with alcohol adelphia’s population (1,479,339 as munities, promote education, and and tobacco images.” of the 2003 US Census): 42.6% Prevention Institute PHILADELPHIA, PA: Mural Arts Program 53 ted together), ceramic (hand painted and kiln fired ceramic tiles), and fresco (watercolors painted on wet plaster) murals. The program strives to serve as many neighborhoods as possible, without bias, and maintains a waiting list for art education and mural creation. As MAP Director Jane Golden observes,“People have an intuitive desire to have art around, and murals make art accessible. The program’s grassroots, bottom-up approach also works to empower residents for whom, oftentimes, art in their neighborhoods equates to an occasional billboard with alcohol and tobacco images.” PHILADELPHIA MURALS AND THE STORIES THEY TELL PHILADELPHIA MURALS AND THE STORIES GOLDEN AND FELLOW ARTIST WORKING ON THE MAP has five main objectives: LEDGE WALL MURAL. 1. To create murals that reflect and depict the culture, history, and vision of the communities in which they are created, African American, 42.5% White, 8.5% Hispanic/Latino, 2. To develop long-term, sustainable collaborations 4.4% Asian, and 2% American Indian/Alaska Native. with communities that engage partners in the mural design process, 3. To educate youth about visual art and foster youth THE PROJECT development through offering high-risk students MAP grew out of the city’s Anti-Graffiti Network, mentorship opportunities with professional artists, which was launched by former Philadelphia Mayor 4. To use murals and the mural design process as a Wilson Goode in 1984. Mural arts have historical roots tool for community engagement, blight remedia- in depicting significant social, political and cultural tion, neighborhood beautification, and demonstra- imagery and MAP continues this legacy. Today, MAP tion of civic pride, and brings together community residents and grassroots 5. To generate professional development opportuni- organizations to arrive at consensus about what images ties for artists who are committed to working col- should be painted in their own communities. MAP laboratively in communities to create murals and facilitates community listening sessions to identify com- visual art education projects. mon themes and unify community members around a Each new MAP undertaking begins with a call (or subject for the mural that will be painted in their neigh- more recently a written application) from an interest- borhood. MAP became institu- ed community member. MAP tionalized within the city’s Depart- then conducts a site visit to find a ment of Recreation in 1996 and in MAP offers classes at recreation wall suitable for a mural:Is the wall this role, creates new partnerships centers, homeless shelters, relatively smooth? Does the wall between government agencies, detention centers, and senior have major defects that would dis- educational institutions, corpora- centers citywide, reaching out to rupt the painting process? Is the tions, and philanthropic founda- all members of Philadelphia’s wall free of water damage? And tions to bring murals to fruition. communities. In an effort to importantly,will people be able to engage the city’s youth, MAP Engaging the talent of approx- view the entire image? MAP co- offers art instruction to more imately 170 artists, MAP com- ordinates community meetings to than 1,000 students, ages 8 to pletes an average of 100 projects a discuss what themes and images 18, at 36 sites throughout year, including mosaic (small Philadelphia. the community would like to see pieces of colored glass or stone fit- captured in the mural’s design. www.preventioninstitute.org PHILADELPHIA, PA: Mural Arts Program 54 MAP engages community mem- of mural painting. Lessons help bers in an inclusive process of students foster creative thinking “Once the mural was brainstorming and may also show skills and prepare them for apply- complete...neighborhood youth slides of other murals to help get began helping their elders keep ing these skills to the workforce by the ball rolling. the area in front of the mural teaching them problem solving, “The program attempts to use clean...[s]ometimes designing critical thinking, and teamwork. art as a tool to examine neighbor- and producing a local mural The final element of the program hood systems more globally,” says begins a process of social is for students to design and paint a Golden, adding that she wants the connection and political activism small mural. art MAP creates to tell a story that previously did not exist.” Like other national arts proj- about the neighborhood. To the ects, MAP must strive to convince extent possible, MAP tries to con- government funders of the value nect its work with existing community efforts and of public art. “The program isn’t the police or the fire murals are tailored to depict important messages. For department and is seen as expendable,” explained example, anti-drug and anti-smoking murals spon- Golden. Most murals are sponsored and funded by sored by Philadelphia’s Department of Public Health private foundations or corporations, and matching city were erected as part of larger anti-drug and anti-smok- funds with private dollars has been one key to MAP’s ing campaigns. continued success. MAP is a holistic program that works to engage the Keeping up with success is another challenge. As community in creating murals, not just at specific sites, more communities experience the benefits of murals, but through mentorship and education aimed at nur- demand increases. With only a small staff and minimal turing new artists. MAP offers classes at recreation cen- resources, MAP struggles to meet expectations. “Suc- ters, homeless shelters, detention centers, and senior cess is a mixed blessing, a double-edged sword,” said centers citywide, reaching out to all members of Golden. “We want to ensure fairness by bringing art Philadelphia’s communities. In an effort to engage the to different neighborhoods and utilizing the talents of city’s youth, MAP offers art instruction to more than a diverse group of artists.” MAP constantly strives to 1,000 students, ages 8 to 18, at 36 sites throughout reach the neighborhoods and youth that need it most Philadelphia through The Big Picture, a year-round pro- and to create art that will make a difference in their gram that introduces students to the history and process communities. THE PEOPLE Diverse Partners Collaborate to Build Healthy Environments With Golden at the helm, MAP is a truly collabo- rative program that brings together community resi- dents and professional artists to produce public art. The program relies on collaborations with, and funding from, a variety of public and private sources, including the City of Philadelphia, corporations, foundations, and individuals. Community-based arts organizations, schools, and senior centers offer support by recruiting PHILADELPHIA MURALS AND THE STORIES THEY TELL PHILADELPHIA MURALS AND THE STORIES community members and providing sites for education AN OCTAGONAL MURAL AT A programs. Sponsors of the education programs include COMMUNITY HEALTH CENTER. Prevention Institute PHILADELPHIA, PA: Mural Arts Program 55 the City of Philadelphia,
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