Black cultural heritage Archives – Milwaukee Community Journal –

Public Art as a Vehicle for Advancing Sustainable Development Goals in Black American Communities

Introduction: Murals as Instruments for Social and Historical Rectification

Across the United States, public murals serve as a critical medium for documenting the history, struggles, and contributions of Black Americans. This form of public art functions as an accessible educational tool and a powerful statement against systemic inequality, directly contributing to the achievement of several United Nations Sustainable Development Goals (SDGs). By reclaiming public spaces to tell stories often excluded from mainstream historical narratives, these murals advance:

• SDG 4: Quality Education: Providing public, informal education on suppressed historical events and figures.
• SDG 10: Reduced Inequalities: Challenging racial discrimination and giving visibility to marginalized communities.
• SDG 11: Sustainable Cities and Communities: Fostering inclusive, safe, and culturally rich urban environments by protecting and safeguarding cultural heritage.
• SDG 16: Peace, Justice and Strong Institutions: Advocating for social justice and accountability through visual protest and remembrance.

Analysis of Public Art Initiatives by Geographic Location

Philadelphia, Pennsylvania

Philadelphia’s Mural Arts program has transformed the city into a public gallery reflecting the Black experience. These works serve as educational landmarks that promote historical understanding and social justice, aligning with SDG 4 and SDG 10.

1. The Colored Conventions: A Buried History: This mural educates the public on early Black American efforts to organize and demand civil rights, contributing to a more complete historical record (SDG 4).
2. Legacy of Bishop Richard Allen: By commemorating the founding of the African Methodist Episcopal Church, the mural highlights a history of institutional resistance to segregation (SDG 10, SDG 16).
3. Harriet Tubman & the Underground Railroad: This artwork serves as a permanent educational fixture on the fight for freedom and the figures who led it.
4. Remembering a Forgotten Hero: The mural of Octavius Catto restores a pivotal civil rights activist to public memory, rectifying historical omissions (SDG 4).

Baltimore, Maryland

In Baltimore, murals, particularly those by artist Ernest Shaw and within the Black Arts District, are integral to community identity and resilience. This work supports the creation of sustainable and culturally vibrant communities (SDG 11).

• The art serves as a form of community empowerment and cultural preservation in neighborhoods impacted by neglect.
• By transforming public spaces, the murals contribute to making the city more inclusive and reflective of its diverse population, a key target of SDG 11.

Los Angeles, California

The murals of Los Angeles, many originating from the work of the Social and Public Art Resource Center (SPARC), directly confront issues of social injustice and inequality, aligning with SDG 10 and SDG 16.

• To Protect and Serve by Noni Olabisi: This piece offers a critical commentary on state violence and the justice system, advocating for the principles of SDG 16.
• Women Do Get Weary But They Don’t Give Up by Alice Patrick: This mural explicitly promotes SDG 5 (Gender Equality) by honoring the foundational contributions of Black women leaders such as Mary McLeod Bethune and Dorothy Height.

National Scope: Murals as Educational and Commemorative Platforms

The practice of using murals to advance social goals is a nationwide phenomenon, with significant examples contributing to education and the reduction of inequalities.

• Topeka, Kansas: A mural located opposite the Brown v. Board of Education National Historic Site commemorates the landmark legal battle for educational equality, directly referencing the goals of SDG 4.
• Jacksonville, Florida: Murals of figures like A. Philip Randolph, Zora Neale Hurston, and James Weldon Johnson celebrate the intellectual and cultural heritage of the Black community, safeguarding it for future generations (SDG 11.4).
• St. Louis, Missouri: The “Black Americans in Flight” mural at St. Louis Lambert International Airport documents the achievements of African Americans in aviation and space exploration, challenging discriminatory barriers and contributing to the narrative of SDG 10.
• Washington, D.C.: The “Black Lives Matter” mural and portraits of local historical figures like Benjamin Banneker served as prominent public declarations demanding justice and racial equality, directly engaging with the aims of SDG 16.

Historical Precedent and Conclusion

The contemporary mural movement builds on a legacy established by artists like Aaron Douglas, whose 1934 series “Aspects of Negro Life” used art to chronicle the Black journey from Africa to modern America. This tradition continues today, with murals functioning as essential infrastructure for social progress.

In conclusion, these public artworks are not merely decorative. They are active instruments in the pursuit of the 2030 Agenda for Sustainable Development. By providing education, challenging inequality, fostering inclusive communities, and demanding justice, the murals across the United States serve as enduring testaments to the history of Black America and a call to action for a more sustainable and equitable future.

Analysis of Sustainable Development Goals in the Article

1. Which SDGs are addressed or connected to the issues highlighted in the article?

1. SDG 4: Quality Education
   • The article emphasizes that the murals serve as an alternative form of education, teaching a history that is often ignored or erased from official narratives. It states, “The murals speak where the history books fall silent,” and their purpose is to ensure “the children of this century inherit the truth their nation keeps trying to erase.” This directly connects to the goal of providing inclusive and equitable quality education and lifelong learning opportunities.
2. SDG 10: Reduced Inequalities
   • The central theme of the article is the fight against “racism and racial inequality.” The murals are described as acts of “defiance” and resistance against the marginalization of Black Americans. By making their history, struggles, and heroes visible, the art aims to challenge systemic inequality and promote the social and political inclusion of a historically oppressed community.
3. SDG 11: Sustainable Cities and Communities
   • The article discusses how murals are integrated into the urban fabric of cities like Philadelphia, Baltimore, and Los Angeles, transforming public spaces. This relates to making cities inclusive, safe, resilient, and sustainable. Specifically, the murals contribute to safeguarding cultural heritage, as they are described as “living testimony” and a way to preserve “a buried history” within the community.
4. SDG 16: Peace, Justice, and Strong Institutions
   • The murals are presented as a call for justice and a form of public protest against institutional failures. Noni Olabisi’s mural “To Protect and Serve” is cited as laying “bare the truth of state violence,” while the “Black Lives Matter” mural pointed “straight toward the White House” as a reminder of injustice. This aligns with the goal of promoting peaceful and inclusive societies, providing access to justice for all, and building effective, accountable institutions.

2. What specific targets under those SDGs can be identified based on the article’s content?

1. Under SDG 4: Quality Education
   • Target 4.7: “Ensure that all learners acquire the knowledge and skills needed to promote… a culture of peace and non-violence, global citizenship and appreciation of cultural diversity and of culture’s contribution to sustainable development.” The murals are a direct tool for this, educating the public on the cultural history of Black America and its fight for human rights. The article highlights murals like “The Colored Conventions: A Buried History” and the one opposite “Brown v. Board of Education” as public lessons in history and justice.
2. Under SDG 10: Reduced Inequalities
   • Target 10.2: “Empower and promote the social, economic and political inclusion of all, irrespective of… race, colour, ethnicity…” The murals empower the Black community by celebrating its heroes (Bishop Richard Allen, Harriet Tubman, Mae Jemison) and making its story a visible, undeniable part of the national identity, thereby promoting social and cultural inclusion.
   • Target 10.3: “Ensure equal opportunity and reduce inequalities of outcome, including by eliminating discriminatory… practices.” The murals serve as a form of advocacy against discriminatory practices. They are described as “sermons painted in public view” and “a weapon sharper than any blade” used by the oppressed to challenge the systems that create inequality.
3. Under SDG 11: Sustainable Cities and Communities
   • Target 11.4: “Strengthen efforts to protect and safeguard the world’s cultural and natural heritage.” The article portrays the murals as a vital effort to safeguard the cultural heritage of Black America. It states, “the story of Black America refuses to die. It is written not in the ink of permission, but in the paint of defiance,” framing the art as a method of cultural preservation.
4. Under SDG 16: Peace, Justice, and Strong Institutions
   • Target 16.10: “Ensure public access to information and protect fundamental freedoms…” The murals provide public access to historical information that the article claims is suppressed by rewritten history books and silenced teachers. They are an exercise of the fundamental freedom of expression, with the article noting that officials “tried to silence” artist Noni Olabisi, highlighting the importance of protecting this freedom.

3. Are there any indicators mentioned or implied in the article that can be used to measure progress towards the identified targets?

1. For Target 4.7:
   • An implied indicator is the number and geographic distribution of public art installations that educate on cultural history and human rights. The article provides a qualitative measure by listing numerous murals across multiple cities, including Philadelphia, Baltimore, Los Angeles, Topeka, Birmingham, Jacksonville, and St. Louis, suggesting this is a widespread and thus measurable phenomenon.
2. For Targets 10.2 and 10.3:
   • An indicator is the prevalence and public support for cultural expressions by marginalized groups in prominent public spaces. The article mentions the creation of the “Black Lives Matter” mural stretching “across the pavement” near the White House and the work of organizations like “Mural Arts Philadelphia” and “SPARC,” whose existence and projects serve as a measure of progress in promoting inclusion and challenging inequality.
3. For Target 11.4:
   • A relevant indicator is the number of initiatives and artworks dedicated to safeguarding and promoting the cultural heritage of minority communities. The article explicitly names organizations (“Mural Arts Philadelphia,” “SPARC”) and specific mural projects (e.g., “The Colored Conventions,” “Black Americans in Flight”) whose work can be quantified to measure efforts in safeguarding this heritage.
4. For Target 16.10:
   • An indicator can be the number of artistic works created to disseminate suppressed historical information and advocate for justice, and the degree to which they are protected. The article gives examples like the mural about Brown v. Board of Education and Noni Olabisi’s “To Protect and Serve.” The mention of attempts to silence the artist provides a way to measure the protection of this fundamental freedom.

4. Table of SDGs, Targets, and Indicators

Source: communityjournal.net