My first trip was in April 2010, when things were starting to settle down and more structure for programs like this one could be put in place. I learned that in the large NGO world there is a ‘model’ of implementing programs in which a ‘trainer’ trains another group of ‘trainers’ and they in turn train others, eventually there are many trained people who can implement the program to a greater portion of the targeted population. In this case the children.
Artist St Jean (a genius)working on a 'body map'
I arrived in Port Au Prince, a large Carribbean capital city that reminded me a lot of many of the towns I have been to in Africa, but had a lot of the Carribbean flavor that I’m familiar with from my travels to Jamaica. I worked on developing a program specifically for the Haitian artists who were requested to participate in the project. Some of them were already employed with a group set up by the first lady of Haiti, called Plac Timon (which means children’s place in Kreol). This was a well funded program, and really well organized, cos they had TONS of cash, as it turns out there was a exhibition of this work at the Smithsonian, and Michelle Obama went to see one of their projects. Details about the earthquake in Haiti. http://www.nmafa.si.edu/exhibits/haiti/
I worked for a week in Port Au Prince, with a group of 12 artist, and my amazing translator and good friend Laurence Camille.I helped to expand upon and develop a training manual for the project, that includes exercises and games to carry out that demonstrate how to relieve some aspects of trauma that people were still dealing with.
I came to understand, however that the earthquake in Haiti was not the only cause of trauma, years of physical and mental abuse was common among my trainees.I am so honored and grateful for everything they shared with me and taught me.
more images
http://www.flickr.com/photos/virtuevision/sets/72157625735383106/
My second trip was to Jacmel, a town in the south of Haiti that is known for its art.
Me, Laurence and Dominique in house of Moro in Jacmel
I trained two groups of artists here and continued to develop important aspects of the program such as evaluation, and opportunities for participants to practice what they had learned.
Typical street scene in downtown Jacmel.
It was at this time that I met two art therapist working from Denmark branch of Save the Children, they had some really great insights that they shared from their professional experience, and I hope to work with them both again in the future.
Local form of transportation in Haiti. The Tap Tap
more images
http://www.flickr.com/photos/virtuevision/sets/72157624591240654/
http://www.flickr.com/photos/virtuevision/sets/72157624591261792/
My third trip was so wonderful because it included children. We set off from Jacmel to a town in the mountains called Lavoute.
Being trees outside in the beautiful surrounding country
Gaston, in forground was a little rascal.....
We spent a week running a practice program for the trainees with the children. It was so interesting to be an observer, and to be monitoring someone else doing the work, again, it helped me to develop my own practice in work with children.
When we were leaving the children kept asking, ‘When are you coming back?’
my amazing team of teachers in lavoute.
Hopefully Save the Children will go back to Lavoute.
I was not under contract to return. My previous commitments made it impossible, but Gloria is going to continue what we have started, which I’m really happy to hear.
My involvement with the HEART program made a huge impact on my work and I’m excited to move forward again with my next phase of development with ‘Global Art Expeditions’.
from the left, Abisboba, Sharon (nicknamed Ayampok-beire- 'little Ayampoka'), Ayampoka and Faustina pounding clay at SWOPA.
The main entrance to SWOPA.
I spent three weeks in a remote village called Sirigu, in the North of Ghana, working with local potters. They taught me their traditional hand-building techniques, decorative motifs and firing process. The local tribe of Nankani live in earthen houses that resemble large pots. These women have lived and worked this way for thousands of years, generation after generation.Unfortunately, the knowledge of their craft is now being lost.
We pounded clay from the nearby river. It took a day to process a 50lb batch. I was humbled as I watched Ayampoka, the eldest, and Abisboba coil pots at top speed, sliding them, as if on a wheel, across the floor on a bed of red grog. They compress the clay at the same time as joining the coils with their thumb and forefinger. Using their basic tools and some water they even out and shape the top of the pots, which look thrown when completed. After a week of practicing this technique, I gave up trying to create coil pots. It would have taken much more time than I had, and I had another agenda.
Painting the local red earth pigment onto pots before burnishing. 
The day of the firing. I didn't think it was possible, but the pots were bisque fired in less than 2 hours.
Typical house of the region. This section of the compound is called the Denyanga. this contains the rooms for the eldest woman living in the compound.
Ayampoka and me, 'Ayampok-beire' (as they nicknamed me little Ayampoka). Waiting for the fire to cool down outside her house. 
Another local compound. So wonderfully cool inside. 
The road to the market. 
The beautiful local kiddies that would watch and help out when i needed it. They were like little birds.
Pots outside a house. I went to art school in the West and, therefore, in the privileged position of making art for art’s sake. I explained this to my Nankani friends … that my ceramic work had no particular function, just as decorating their houses did not serve a function. It was an aesthetic choice. The work I was making was the result of inspiration from things I was seeing around me. I was absorbing and processing my experiences of this place and the people who lived here and the everyday things of life.
A pot sealed with mud to keep the bugs out. 
Durcas and Erica on a fig picking expedition. 
This is Apolala Akaba. One of the local elders. She was afflicted with Elephantitis. As gruesome as it seems, I was even inspired by Apolala's affliction. The texture and colour of the skin on her leg made me think of fetish figures covered with dry cracked dirt. This medical condition inspired the title of my report, “An extreme case of creation.”
A beautiful hand made toy carrying a load of medication used for Elephantitis.
Local chief outside my friends compound in Burkina Faso.
This residency provided me a sense of freedom. I felt excited, playful and unattached to the outcome. It helped me to achieve a method of exploration that I had not had the courage to try in the studio setting. I know this will be a benefit to my growth as an artist in the future. I’m honored to have been a part of it, even for a short time. I have learned so much, not just about the Nankani tribe and culture, but also about myself, my work and my process of creation. 
