Running head: Planting Peace Arts Experience

Planting Peace Arts Experience

Sarah Baker
Eastern University
July 18, 2016

Planting Peace Arts Reflection

Planting Peace Arts Experience

Intended Audience
According to Ferris (2014), there are 5.7 million internally displaced persons (IDPs) in
Colombia due to an ongoing conflict between the government, paramilitary groups, drug cartels
as well as rebel forces. The conflict can be traced to a ten-year period of unspeakable violence,
called La Violencia, in which 200,000 people lost their lives (Ferris, 2014). Though this period
ended with a power-sharing agreement between political parties, it did not address the growing
poverty and inequality concentrated in rural communities. Rural populations, inspired by the
Cuban Revolution, began to organize into guerilla groups that still exist today. These guerilla
groups committed large-scale human rights abuses, including forcible recruitment of children,
extortion, and kidnappings (Ferris, 2014, p. 7). In response, the Colombian military also used
deplorable tactics to control these guerilla groups and in 1980, new paramilitary groups emerged
to assist them.
This convoluted and complicated struggle has not only displaced thousands of people but has
resulted in the disintegration of social, emotional, and economic stability for those displaced.
Even though the Colombian government has implemented several laws and programs that protect
the rights of IDPs, this a complicated task because displacement is ongoing. It is estimated that
300,000 new people have been displaced every year since 2010 (Ferris, 2014, p. 15).
Displacement disproportionally affects women, children, and particular ethnic groups
(Ferris, 2014, p. 14). In fact, 47% of newly displaced persons are of Afro-Colombian descent
and 29% belong to an indigenous group (Ferris, 2014). It is reported that approximately 90% of
IDPs fall below the poverty line (Ferris, 2014). This intersection of race and socioeconomic

Planting Peace Arts Reflection

status creates a complicated situation for many IDPs. The economic realities of displacement,
coupled with race and ethnic origin, leads to further marginalization and results in multiple forms
of discrimination.
Planting Peace is an arts-based program that will work with IDPs who fled their homes in
northern Colombia in search of safety in Bogot. Many live on the outskirts of the city in
makeshift housing or with extended family members in crowded conditions. This population has
experienced numerous traumatic events. Not only were they forced to leave their homes, they
often witnessed unbearable human rights violations in the process. There is also the added
trauma of adjusting to a new city. Using the art-making experience as a metaphor will allow
them to process these events by externalizing intense emotions at a safe distance. Through the
metaphor of a seed that has travelled from far away to be planted in a new garden, participants
will be able to tell their stories. This is a critical step in the healing process. According to Bath
(2008), trauma-informed care must create a safe place for participants, allow them to create
internal and external connections that lead to positive, healthy relationships, as well as provide
an avenue to manage intense emotions. Planting Peace will focus on the first two pillars, as
outlined below. These are considered to be two healing aspects of the artistic journey.
Healing Aspects of Art-Making
Creating a Safe Environment
For individuals who have experienced trauma, one of the defining emotions is that of feeling
unsafe (Bath, 2008). Creating a place where participants feel safe, therefore, is critical. Planting
Peace will create a safe environment through the use of ritual. Beginning and ending each
session with the same activity will create an environment of consistency, reliability,

Planting Peace Arts Reflection

predictability, [and] availability (Bath, 2008, p. 19). This safe place, along with the use of art as
metaphor, will allow participants to delve into their emotions surrounding their displacement, if
they choose. This will allow them to begin to make meaning of their traumatic experiences by
transcending their current realities through the artistic process. This ability to achieve a new
perspective is a critical step in the healing process.
Creating Positive Connections
The artistic process will be the vehicle to create bonding and linking capital. According to
Wilding (2011), bonding capital refers to the ties between people in similar situations[to]
build trust, reciprocity, and a shared sense of belonging and identity (p. 12). As participants
share their stories, they may realize that others in the group have experienced similar trauma.
This may alleviate their sense of isolation, especially as they grapple with the stress of adjusting
to a new place. Linking capital, on the other hand, is the ability of groups to access networks of
power and resources beyond their immediate community (Wilding, 2011, p. 12). Planting Peace
will ensure these connections by providing the group with additional resources they can access to
receive necessary help from organizations working with displaced populations in Bogot.
Attributes of Hope
Will Power
Participants will demonstrate their ability to initiate by designing and creating their own seed
sculpture. As they plant this seed sculpture into the ground, they will be asked to imagine what
the seed will turn into. This will allow them to envision a bright future.
Way Power

Planting Peace Arts Reflection

Students will also demonstrate their ability to plan out workable routes to their goals through
the use of collage. On the inside of their seed, students will collage images and words regarding
what they want their seed to turn into. When the seed sculpture is finished, they will put in
actual seeds. Each seed will represent steps the participant can take to ensure that the seed grows
into a healthy plant.
Interconnectedness
As outlined above, this activity will boost the bonding and linking capital of the participants.
As they begin to tell their stories of forced displacement through the metaphor of a seed, students
will realize that they are not alone in their struggle. Through a final exhibit in the garden,
students can also share these stories and images with the wider community.
Resilience and Protective Factors
Planting Peace seeks to increase the resilience of IDPs living in Bogot through the use of art
as metaphor. Resilience, according to Metzl and Morrell (2008), is the ability to bounce back
from difficult situations (p. 305). It is affected by several protective factors such as a supportive
community, positive self-esteem, and positive attitudes and beliefs. By designing and creating a
seed that has travelled from far away, participants can begin to envision a future in their new
environment, just as a seed can grow into a healthy plant in its new habitat. This visioning
process will impart internal skills that the participants can use on a daily basis. Additionally,
students are asked to think of expectations or hopes they have for each session in the opening
ritual. The ability to think positively can change their perspective regarding their current
situation.

Planting Peace Arts Reflection

Planting Peace Activity Plan

Art as Metaphor

The image of the seed will be used as a metaphor for displacement. Seeds can travel far
distances through a variety of ways. For example, if a seed has burs, it might cling to the
back of an animal that will transport it to a new place. Seeds, however, are resilient.
They are able to adapt to new environments and often, only need sun, water, and good
soil to grow into a beautiful plant.

Materials

Newspaper
Plastic bowls (for seed form)
Variety of seeds
Flour paste
Watercolors

Variety of magazines and printed

poems and essays
Pencils
String or embroidery floss
Scissors

Opening Ritual, 15 minutes

Sing Dig, Dig, Dig song (Appendix A)
Gather participants in a circle in the garden and give each person a flower seed. Ask the
students to think of one hope or expectation they have for the days activity. Taking
turns, ask each individual to plant their seed and state their hope or expectation. After
everyone has planted their seed, ask them to imagine the seed growing into a beautiful
flower.

Main Lesson, 90 minutes

**Depending on your time, this activity can be broken up into 2 or 3 sessions

Read Story of a Seed (Appendix B)

Ask students Have you ever gone somewhere you did not want to go? Allow each
individual to respond as wanted.
Pass out plastic bowls to each student and explain that we will be making our own papiermch seeds. This will be the seed form. Show students how to tear long strips of
newspaper to prepare for the papier-mch activity. Show them how to dip these long
strips into the flour paste and run the strips through their fingers to get rid of the extra
paste. Demonstrate how to layer strips on the seed form. Students will need to papiermch two bowl forms to create two sides of the seed. Eventually, they will put both
sides together to form seed form.
As students finish both sides of the seed and set it aside to dray, explain that seeds have a
protective coat. At this point, show them different samples of seeds that they can dissect
to see the protective coat.
Ask, What does your seed need protecting from? Provide a variety of magazines and
printed poems or essays. Ask students to cut out words or phrases in response to your
question and collage them on the outside of the seed. Allow them to share as they would
like.
Explain that the middle of the seed contains the life of the seed and determines what the
seed will grow into. Provide bean seeds soaked in water and have them dissect these
seeds to see the embryo inside.
Ask, What do you want your seed to grow into? With the provided essays, poems, and
magazines, students will collage their answers onto the inside of their seed forms. They
can share as needed.
Once both sides of the seeds are done, show students how to put both sides together,
using papier-mch to adhere both sides together at the seams. Remind students to leave
a little opening on one side of their seed as they work.
Give students handful of seeds to insert into the opening they left. For each seed they
insert, ask students to think of one way they can ensure that the seed grows into a healthy
plant. Also put in a little bit of compost. Close the opening.
Provide watercolors so students can decorate the outside of their seed sculpture.

Planting Ritual, 30 minutes

Ask students what seeds need to grow. Solicit answers. Discuss that they need sun,
water, and good soil to grow into healthy plants. These are all part of the seed habitat or
home.
Show students how to dig a hole and plant their seed sculpture. Tell them they can choose
any place in the garden to plant their sculptures. As they plant, ask them to think about
what they want their seed to grow into.
Gather back in a circle to share their experiences. Ask, If you were a seed, how would
you want others to care for you? Discuss.

Closing Ritual, 15 minutes

Gather students back into a circle and give each student a piece of string for everyone
in the class. Ask one student to step into the middle of the circle and ask everyone
else to think of one positive strength or attribute this individual has. Going around
the circle, each person will share this positive attribute as they tie a piece of string
around the wrist of the individual in the middle of the circle. Continue until everyone
has participated and has string tied around their wrist.
Explain to students that this is a ritual from Laotian culture; they wear these strings
until they fall off for extra power and strength.

Appendix A

Dig, Dig, Dig the Soil

**Sung to the tune of Row, Row, Row your Boat

Dig, dig, dig the soil (bend over and pretend to dig holes in the soil)

Plant seeds in a row (pretend to plant seeds in each hole)

A little sun (put your hands to your face to look like a sun)

A little rain (wiggle your fingers to look like rain drops as you crouch to the ground)

Will help our seeds grow (from the crouching position, stand up slowly as if you are a
plant growing towards the sun)

Appendix B

The Story of a Seed

** can be adapted based on context and audience

I have something very special to show you. Its a seed that has travelled from a distant
land. How did it get here, you may ask? Well, let me begin my story. This seed comes
from the center of a large flower that grows even taller than you and I. One day, a bird
landed on this flower looking for a tasty snack. It pecked at our seed with its large, sharp

beak and quickly snatched it from its home. The bird flew off through the air, our seed
clinging precariously in its beak.

Suddenly, the sky became a dark blue-green. Lightning crashed overhead and rain
poured through the sickly clouds. Undeterred, the bird beat its wings even harder and
continued through the storm. The seed was very frightened but clung tightly to the birds
beak.

Finally, after days of travelling, the bird landed on the branch of a tall tree. The seed
could just make out something round and brown. Was it a nest? Finally, the seed
thought, I am safe. Out of the corner of her eye, the seed saw movement coming from
the nest. Baby birds clamored for the attention of their mom like a swarm of bees to
honey. Mama bird pecked her way nearer to the nest and the frenzy of the birds increased
like a loud hum. She dropped the seed into the nest. The baby birds wrestled with our
poor seed, each trying to outdo the others for the tasty snack. But in the commotion, they
nudged the seed closer to the edge of the nest. She fell to the ground with a loud
thwack.

The seed woke up hours later, groggy and confused. Where am I? she asked.
Looking around, she saw a beautiful garden with all of the colors of the rainbow. To her
left, she heard a gargling stream snaking its way through the garden. Oh my, she
thought. I miss my brothers and sisters but maybe this could be my new home. It has
everything I need. The seed tunneled her way into the soil, soft and moist. She waited
for the rain to come and the sun to shine and in her heart, she knew she would grow into
the most beautiful flower in all the garden.

References

Bath, H (2008). The three pillars to trauma-informed care. Reclaiming Children and Youth.
17 (3), 17-21. Retrieved from www.s3-us-west-2.amazonaws.com

Ferris, F. (2014). Changing times: the international response to internal displacement in

Colombia. Brookings LSE: Project on Internal Displacement. Retrieved from
www.brookings.edu

Metzl, E.S., & Morrell, M.A. (2008). The role of creativity in models of resilience:
theoretical exploration and practical applications. Journal of Creativity in Mental Health.
303-318. Retrieved from www.sites.google.com/a/buildabridge.org

Wilding, N. (2011). Exploring community resilience in times of rapid change. Fiery Spirits
Community of Practice. Retrieved from www.buildabridge.org