Why people of different faiths are painting their houses of worship yellow | Nabila Alibhai

97,338 views ・ 2017-10-13

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We live in a time of fear,
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and our response to fear can either be to contract
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and attempt to guard ourselves
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or to extend ourselves, hold on to each other,
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and face our fears together.
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What is your instinct?
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What do you see more of in the world?
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The problem with the first approach
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is that in our mounting isolation,
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we divide ourselves from others.
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Our sense of isolation grows,
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because our imagination goes into overdrive
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about the people and the spaces that we no longer engage with.
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Our sense of otherness grows, and we lose empathy.
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Today I'm going to tell you about a group of people
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that took the global challenge of terrorism
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and began creating spaces where strangers connect in solidarity.
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My own obsession with what I see as irrational divisions began as a child.
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As a fourth-generation Kenyan Muslim of Indian origin,
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it bothered me that in four generations,
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there wasn't a single marriage in my family
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outside of my small religious community.
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And I wondered what that was about.
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Was it fear?
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Was it racism?
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Was it cultural preservation?
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Did it have something to do with colonialism?
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Certainly, we didn't share a lot of the same public spaces with others.
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These divisions bothered me deeply, and they drove my career choices.
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When I was 20, the US embassies in Kenya and Tanzania were bombed.
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A year later, I was on my way to the Middle East
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to study conflict resolution.
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And then from that point on,
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it wasn't very hard for me to find insecure environments to work in,
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because the world was quickly shifting
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in what we now know as the time of terrorism.
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I was in Washington, DC when 9/11 happened,
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and then I moved back home to Kenya to work with refugees
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and then later worked in Pakistan
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and in Afghanistan.
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In all of these places, what I noticed
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was how important physical spaces are
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to making us feel safe
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and well
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and like we belong.
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In 2013, I came back home to Nairobi from Afghanistan.
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Al-Shabaab operatives had besieged Westgate shopping center,
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killing 67 people in a day of utter horror.
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Soon after that,
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I could see how Nairobi was beginning to change,
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and it was beginning to feel more like the fear and terror-weary
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and war-torn cities that I had worked in.
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And Nairobi continues to grow in fear-driven ways.
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We see more walls, more barriers,
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more security.
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And like other parts of the world,
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we are experiencing an erosion of human connection.
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Divisions along religious lines are deepening,
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and we're doubting more and more how much we have in common.
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We are at a pivotal time
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when we need to restore our confidence in humanity
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and stand boldly and visibly together.
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So in 2014, I brought together a group of people in Nairobi
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to figure out what to do:
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public intellectuals, diplomats, artists, development workers.
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And the group articulated our challenge as threefold:
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one, to reclaim the city from the narrative of terrorism
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and back into the hands of the people that live there;
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two, introduce a language beyond race, tribe or religion
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that would help us transcend our differences;
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and three, provide a gesture that would help restore empathy
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and conversation and trust.
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One of the people in this group was an artist and architect,
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Yazmany Arboleda.
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He and I have collaborated in other parts of the world
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over many years.
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He has a history
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of disrupting urban environments
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and making strangers connect
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in incredible, beautiful and spectacular ways.
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He had an idea.
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The idea was to unite people of different faiths
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by getting them to paint each other's houses of worship,
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mosques, temples, synagogues, churches,
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paint them yellow
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in the name of love.
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By focusing on icons of faith,
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we would get people to reexamine the true essence of their faith,
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the common belief that we share in kindness, generosity and friendship.
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By creating pathways between houses of worship
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within one neighborhood,
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we would create islands of stability
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and networks of people
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that could withstand threats.
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And neighbors, by picking up a paintbrush with other neighbors,
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would engage not just with their heads
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but with their hands and with their hearts.
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And the painted buildings would become sculptures in the landscape
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that speak of people from very different backgrounds
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that stand together.
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We'd call the project "Colour in Faith."
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We loved the idea and we immediately began approaching houses of worship:
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churches, temples, mosques, synagogues.
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Door to door, we went to more than 60 rabbis,
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imams, pastors and priests.
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As you can imagine,
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bringing these communities together
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when prejudices are reinforced by a global pandemic of fear
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is not easy.
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It was complicated.
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We were confronted with the hierarchy of decision-making
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within religious establishments.
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For example, with Catholic churches,
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we were told that the archbishop would have to make the decision.
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And so we wrote a letter to the archbishop.
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We wrote a letter to the Vatican.
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We're still waiting to hear back.
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(Laughter)
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And with other houses of worship,
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we were told that the patrons, the people that pay for the building
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and the construction and the painting of the buildings
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would have to make a decision.
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And then we came head-to-head
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with the long legacy of missionary and donor dependence
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that so impedes unconditional civic action,
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and we learned this the hard way.
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There was one community
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that in our repeated conversations would keep asking us
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to appreciate them.
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And so we would keep going back
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and telling them that we appreciate them,
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and of course,
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if we didn't appreciate them, we wouldn't be here.
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And then we learned painfully late in the game
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that the word "appreciation" is code for getting paid to participate.
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And so we challenged them
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and we asked the question,
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"So what will it cost?
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How much could we pay you?
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And if we pay for your faith, is it really faith?"
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We started the project asking the question,
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"Where does your faith live?"
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And here we found ourselves asking the question,
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"How much does your faith cost?"
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But the most difficult issue was the perceived risk of standing apart.
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We had one synagogue that flat-out refused to participate
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because it feared drawing attention to itself
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and becoming a target.
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Similarly, we had a mosque that also feared becoming a target.
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And these fears are justified.
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And yet, there were 25 houses of worship that pledged to participate.
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(Applause)
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These bold leaders took the gesture and reinforced it with their own meaning.
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For some, it was to tell the world that they're not terrorists.
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For others, it was to welcome people through their doors to ask questions.
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And for some, it was to bridge the gap
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between the older and the younger generation,
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which by the way is something that many faiths are grappling with right now.
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And for some it was simply to build neighborhood solidarity
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in advance of feared election violence.
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When asked why yellow,
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one imam beautifully said,
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"Yellow is the color of the sun.
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The sun shines on us all equally.
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It does not discriminate."
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He and others spread the word through their congregations
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and over the radio.
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Municipal government officials stepped forward and helped
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with permits and with convening civil society organizations.
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A paint company donated a thousand liters of yellow paint
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mixed especially for us in what they now call "optimistic yellow."
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(Laughter)
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(Applause)
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And a poetry collective joined forces with a university
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and hosted a series of tweet chats
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that challenged the nation on issues of faith,
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our faith not just in the context of religion,
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but our faith in politicians and tribe and nation,
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our faith in the older generation and in the younger generation.
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And then Colour in Faith was launched at a gallery event
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that invited an incredible mix of gallerygoers
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and religious leaders and artists and businesspeople.
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Already, even before picking up a paintbrush,
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we had accomplished so much of the conversation and connection
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that we had hoped for.
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And then we began to paint.
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Muslims stood by Christians
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and atheists and agnostics and Hindus
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and painted a mosque yellow.
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And then they all came together again and painted a church yellow,
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and then another mosque,
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and then another church.
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Poets and musicians performed while we painted.
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We painted in Nairobi,
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and then we painted in Mombasa.
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The local and international press did features on Colour in Faith
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in English and French and Swahili
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and Spanish and Somali.
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CNN highlighted Colour in Faith as a way of bringing communities together.
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And our social media platforms lit up,
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connecting more and more people.
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And these neighbors continued to stay in touch.
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There are some that are pursuing politics with a platform of peace,
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and we have communities as far as Argentina and the US
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and as close as Mali and Rwanda
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that are asking for our help.
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And we would love to help.
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It's our dream that this project, this idea, spreads across the world,
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with or without our support.
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Colour in Faith is literally highlighting those who mean well in yellow.
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Colour in Faith is binding neighborhoods together,
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and it's our hope that when threats come knocking,
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they will collectively sift fact from rumor
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and stand in solidarity.
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We've proven that the human family can come together and send a message
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far brighter and more powerful
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than the voices of those that wish to do us harm.
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Though fear is infectious,
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we are showing that so is hope.
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Thank you.
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(Applause)
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