The Importance of Art: Maua Mazuri

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Last week, I finished my very first project in the village, of the projects that can be finished (agriculture and health projects tend to be an ongoing thing, hence the sustainability portion of Peace Corps). Maua Mazuri, which I’ve blogged about before, came to a close. 11 of the 15 girls who originally began the program, ages 12-13, graduated.

In our village, there is little to no art, and this entire program was a roller coaster for me. The program is designed to teach life skills through various art forms such as music, dance, watercolor, drawing, acting, and poetry. It touches on topics including HIV/AIDS education, self-awareness, creativity, confidence, gender roles, and individuality. For many of the classes, I left after the two hour sessions feeling happy that the girls had a great time, yet frustrated because I was trying to teach a program that relied on Western-teaching styles and required critical thinking and creativity, which are just not taught or used here in the village, and as I found out, cannot be taught in a 12 week time period. Eventually, I accepted that the life skills that I was trying to teach would probably not be absorbed by the girls, but that introducing them to art would be a success in itself. Their smiles always made the classes worth it, anyways. So I continued on.

In April I visited Zanzibar, probably the most well-known part of Tanzania aside from Kilimanjaro. There were tourists all throughout Stonetown, and because of this, there were many artists selling their art. I couldn’t believe that there was so much art to be found on this island, yet the farther inland you go on mainland Tanzania, art becomes a rare find. I decided to duck into a random art shop and chat with the artist about his background. I met Ramadhan Awesu Saleh, who told me he began learning art in primary school and fell in love. He eventually went on to study at an art college in Dar es Salaam. His walls were lined with oil, acrylic, and watercolor paintings of various sizes, all depicting life on Zanzibar, and of course Tanzania’s wildlife which many tourists come to see on safari. As we were chatting, he was working carefully on a watercolor showing the small Arab Medina style streets of Zanzibar. I told him that I was teaching art in a village in Njombe to young girls, and he continually emphasized how important this work is. He told me that young Tanzanians have little opportunity for self-expression in the way that art allows. His words jazzed me up to finish the Maua Mazuri program. As I was leaving, he called me back and handed me one of his matted watercolors, a gift for our village. On the back, he wrote his name and a note to the girls. “Art is a privilege but also a way to a good life. Keep creating.”

I left not only refreshed to continue the last few weeks of Maua, but also reflecting on the privilege of art. All forms of art are a privilege, but they are also so powerful. As a child, I was very lucky to go to a public elementary school that valued art and gave every student art classes once per week as well as music classes. Not every child in the US is afforded this privilege, let alone the world. Beginning in the fourth grade, my parents invested in a flute for me, and later a slide trombone, allowing me to grow up with music and learning to read both clefs, and I was able to continue playing into college. My parents also encouraged my drawing, buying me books on how to draw horses. My artwork could be found hanging on the fridge, portraits of our horses hanging in frames in the barn, and they would drive me to and from poetry slams in high school. I am incredibly lucky to have had my creativity supported in this way. And now that I’ve discovered how important of an outlet art can be, especially through the difficult preteen and teenage years, I am happy to share any knowledge and art supplies I can with any child, no matter their background. I truly believe every child who wants to explore the arts should have that opportunity.

After this reflection, I realized that Maua Mazuri, even if life skills were not being picked up as they were intended, could only be a positive experience for me and for the girls I was working with. So we continued with classes and eventually reached graduation day. Before the girls received their certificates, we did a post-test which assessed all the life skills taught throughout the course. The girls had taken the exact same test twelve weeks before, scoring fairly low in areas such as HIV knowledge and comfort in interacting with people who have HIV, ideas of challenging gender roles, confidence in speaking in front of others, and ease in expressing emotions. After the post-test, I gave out the certificates, we had a little celebration, we danced, and the girls raced back to their dorms to chat before dinner. I returned to my house, sat down with their post-tests, and started reading their responses and comparing them to the pre-test.

Almost every girl scored significantly higher than her pre-test, and reported higher self-esteem, self-confidence, feeling that it’s ok to express individuality, and an increase in feeling it’s ok to show emotion. They now have learned that men can also care for and raise babies, that women can affect change in Tanzania, and that art can help them in expressing their emotions and dealing with life struggles. I couldn’t believe the results I was reading. Through art, they actually learned all of the intended life skills. With that, I am so proud to say my first project was a success, not because of me, but because of the girls’ eagerness to try new things and participate in a new style of education. I am so grateful to have observed the change that art can make, and to have worked with the girls that I did. They are young, bright agents for change in rural Tanzania, and now, they are artists.

 

 

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