The Mural at the University of Bamenda

This article reports on the process of mural making about inclusion at the University of Bamenda, Cameroon, as part of the dissemination of an inclusive, international research project, the Partnerships for Inclusive Research and Learning (PIRL), that aimed to promote inclusive research in international development work. We produced a mural to reflect the ideas discussed above, using bright colors and local symbolism. The site where the mural is located, along a main road abutting the surrounding neighborhood, is important for communication with both the university community and those from the surrounding areas. The University of Bamenda has one other mural next to a more hidden location at another entrance to the campus.

Murals such as the new one, located in highly frequented public places, are presented as an ideal means of visually communicating messages to scores of people daily. In the implementation of the mural at the University of Bamenda, the artists used the figurative technique on 30 meters of wall. The bright colors of the mural transformed the street into a mobile viewing gallery, commentary and debate space, and a venue for picture taking. The application of color to the unpainted wall appeared like sunshine illuminating the darkness of that street, but the painted wall is also a combination of signs, symbols, and images expressing the implementation and practice of inclusive research for students with disabilities and faculty. Using this example, we aim to make intellectual ideas tangible and visible to contribute to the implementation of ideas from the PIRL Project results, and to encourage the practice of inclusive research for all viewers and members of the university community, including faculty and students with disabilities.

Mural Painting: A Tool for Communication

A mural is any piece of graphic artwork that is painted or applied directly to a wall, ceiling, or other permanent large surfaces (Marschall, 2006; Mendelson-Shwartz & Mualam, 2022). Murals are one form of communicating ideas, dreams, and messages, and they can reflect the spirit and aspirations of a specific community. Therefore, in many instances of mural making, it is essential to consider the collaboration of community members throughout the process of making a mural, from conception to completion.

By using symbols, murals often use art and imagery that communicate without words (Rose, 2001). People, regardless of their native language, create direct and indirect links with others through signs and symbols. Symbols are understood in different ways, depending on who is viewing them. Some symbols and signs hold widely shared meanings, such as a set of rings signifying a union, a dove as a sign of peace, or a skull and crossbones as a reminder of death. Others are more unique to local contexts, and outsiders require explanation to understand the intended meaning. Ideas and concepts can travel through times and civilizations to reach the audience without textual presentation. The artists symbolize the intended messages, codify them, and allow the spectator or viewer to decode and interpret the embedded messages or meanings. Mural painting makes thoughts visible, allows artists to communicate their ideas and feelings, build knowledge, and tries to make objective sense of this world (Furtado & Payne, 2023; Jaradat & Miaomiao, 2022; Mendelson-Shwartz & Mualam, 2022).

Today, murals are used as a way to express freedom and as a tool of emancipation; to create relationships between art and politics, social activism, or propaganda; and to contribute an esthetic element that fits into an environment. Some murals are created for other purposes such as advertising, attracting tourists, or simply for the pleasure of a beautiful image on a wall, as in many places the walls of urban cities are ugly and unnoticeable (Jaradat & Miaomiao, 2022). Over time murals have become cultural artefacts; therefore, murals are not only a tool for recording the history of human activity but also a tool for conveying a wide range of stories, emotions, feelings, and inner thoughts symbolically, explicitly, or in more hidden modes.

Mural art can be a powerful form of communication that is used to convey messages to a wide audience, especially when they are made in public spaces such as streets, intended to be accessible to the general population. For those who can visually see, a mural can appeal to our souls through our eyes, and they are capable of communicating feelings or emotions that words cannot communicate. Murals can beautify the drab walls of cities and uplift spirits (Marschall, 2006). They can appropriate and reclaim public spaces for those previously marginalized in the urban arena. They can reflect the cultural identity of the people of the locality by representing the preoccupations and aspirations of those who previously did not have an avenue to share their perspectives. Murals can disseminate traditional and new value systems publicly in a society in the process of transformation. Importantly, murals can function as a creative means of mass communication.

Color plays an important role in mural-making. It can elicit emotional responses, such as joy or sadness, depending on the importance of the space where it is applied and personal responses. Colors can irritate or soothe our eyes, increase our blood pressure, or suppress our appetite, and they can influence thinking and emotions, change actions, and provoke reactions (St. Clair, 2017). Therefore, the choice of color in a mural is extremely important and needs to be carefully considered.

Though mural-making is widespread in many parts of the world, it is not yet a widespread practice in Cameroon (Pucciarelli & Cantoni, 2016). Visual artists and many communities have still to recognize the importance of murals in Cameroon and still consider murals to be vandalism. Despite the importance of murals as one of the main contemporary art forms, and an art form with considerable prospects, Cameroon lags in how they can be interactive and evoke participation and engagement (Pucciarelli & Cantoni, 2016; Schemmel, 2016). In Cameroon, murals are gradually being seen as progressive, creative, and related to changes and new technologies (Pucciarelli & Cantoni, 2016; Schemmel, 2016). Park and Kovacs (2020) point out that when wall paintings are considered as a means of communicating educational messages and raising social awareness, it is necessary to make the image an intermediary interlocutor that transforms forms into a simple language for those who look at it; this complex communication is becoming evident in some places in Cameroon.

Universities have used murals for many purposes. Murals focus on the essential, hopeful, or troubling themes of everyday lives. When murals are produced with an emphasis on idea development, collaborative execution, and constructivism, or are complemented by digital technology, the result can be a very inclusive learning and art practice (Ho, 2012). Inclusive education and research in the university milieu can be addressed with murals because they can provide concrete and visual communication about relevant issues related to inclusion and change. The use of the mural as a communication element can add to scholarly work (Furtado & Payne, 2023; Segers et al., 2021).

The Process of Painting the Mural at the University of Bamenda

The mural at the University of Bamenda was part of the development of strategies for the popularization of inclusive research by faculty, students, and researchers in several locations as part of the partnership between the University of Bamenda and PIRL. The work was done by students from the Department of Performing and Visual Arts under the supervision of three faculty members.

The methodology used the techniques of creation in artistic design. The development of the mural followed the five main phases of the Tele Djosseu Ghislain Landry approach (Tele Djosseu, 2021), with several steps involved in the execution of each phase. In the first phase, the drawings were conceived and the designs sketched out. A team then selected the images to be painted. Once the selection was done, the next phase was to transfer the drawings to the wall. Finally, the mural was finished with the application of paints and protective coating. Each of these phases is described in more detail in the next section.

Graphic Research

The graphic research step deals with the drawing of images, signs, and graphic symbols. In this step, our sketches considered the expression of the writing, drawing, or harmony of colors, which were identified in the observation and analysis phase. Each visual artist in the project used their particular way to reproduce the forms. These sketches could have a realistic, figurative, abstract, or symbolic tendency.

In the case of this work, we aimed to reconstitute and gather the most representative images to express inclusive research and development of disability in the context of the University of Bamenda; therefore, we wanted to include locally relevant images. Our drawings were inspired by multiple sources (including students and faculty with disabilities on campus and in the community); thus, the final products were liberal in artistic expression and embraced different forms and perspectives. We collected many images related to the main themes and subthemes identified at the initial stage of the mural process. The elements of our graphic extraction that were derived from local symbols were thus directly or indirectly related to the images in Table 1.

TABLE 1 - Symbols from the North-West Region and their Meanings

Symbol	Meaning	Relation to the topic
Double gong	Denotes palace authorities transmitting information to the public	Announces and informs PIRL results on inclusive research for people with disabilities
Lizard	Lizard design stands for conservation and self-protection of the people in the grasslands of Cameroon. It represents spiritual growth and opportunities for new beginnings.	Contributes to the protection of people with disabilities on campus and presents new opportunities through PIRL results.
Snake	Snake symbolizes healing and rebirth.	Fortifies the good health of people, including those with disabilities, to cope with challenges and problems.
Elephant horn	Supernatural strength and power	Power and strength on campus for people with disabilities.
Lozenge design	Symbolizes reflection, strength, fortitude, and courage	Fortitude and courage for inclusive research on campus

The table was based on the process used in the development of the mural, with information about the symbols adapted from Ndifor et al. (2023).

Some of the drawings which were developed following this methodology are shown Figures 1 to 7.

Figure 1 - Equity on inclusive research by students at the University of Bamenda.

Figure 2 - An image to represent inclusive research at the University of Bamenda by students with disabilities.

Figure 3 - A person with disability with a crutch in the middle of research at an archaeological site.

Figure 4 - Students with disabilities studying at the University of Bamenda.

Figure 5 - A student with an impaired hand working in a research laboratory.

Figure 6 - A research proposal presentation by a student using a wheelchair.

Figure 7 - A research working session chaired by a professor in a wheelchair. The rows of gongs on the sides represent the sharing of information.

During this phase, the forms of the different symbols that were going to be used in the final designs were agreed upon. At the end of this phase, there was thus a syncretism of past and present forms. As a syncretic finale, the drawings aimed to satisfy the traditional and contemporary needs of the audience, in a society in perpetual change. The forms reconstituted at the end of this work reflect elements of traditional African art in general and Cameroonian art in particular. Most especially, they reflect different forms related to disability-inclusive research at the University of Bamenda.

Painting Process

The work done in this step was a practical execution of the results of the manipulation of images step. The images were painted on the wall at the University of Bamenda. Public murals are painted as art for people, their functions through their visual effects are an attraction to the public. Considering that many students may not enter the University of Bamenda Art Gallery, placing the mural at a very strategic and often populated area of the campus was a good idea for better dissemination of PIRL’s results on inclusive disability research.

The painting style used during this practical stage was inspired by pop art, a style of artwork created in the UK and USA from the mid-1950s through the 1960s (Lichtenstein & Swenson, 1963). The idea was to change the perception of what art is, to break down the barriers between the so-called high art and commercial art (also known as “low art”) seen in popular culture. Pop art embraces mass production and elements from popular culture instead of trying to be unique. It is an exciting, colorful, and vibrant art form.

Figure 8 - Students removing dirt from the wall surface to be painted.

Figure 9 - With the help of a mentor, students performed the wall disinfection process.

Figure 10 - Applying white Pantex (paint) on the wall.

Painting the mural started with an exploration of the site to determine what was needed to do the actual painting. The students and their mentors realized that the wall was old and infected with bacteria. It was therefore important to first treat the wall accordingly. The application of a wall disinfectant was made on the entire surface, particularly the parts that were most contaminated.

Once the wall was treated, the application of white paint followed. The white paint was intended to prepare and enhance the background for the paintings to ensure good contrast with the images to be inserted.

The next action was the drawing of the images on the wall. Tracing the images with black paint and then coloring them with bright colors was part of the students’ work. It was a great pleasure for them to see their final drawings outlined on the wall. The visual stylistics of the mural were dominated by warm primary colors. This color palette was intended to express the energy, brightness, happiness, and serenity emerging from the University of Bamenda campus. Additional finishing touches were applied to the paintings by the technical staff to harmonize and add value to the work.

Figure 11 - Reproduction of drawings on the wall.

Figure 12 - Tracing the images.

Figure 13 - Applying colors.

Figure 14 - The final mural.

Figure 15 - Students and technical staff who participated in the painting of the mural.

Students concentrated on the approximate reproduction of preconceived designs. The lines were covered with black paint for better visibility of the drawings, and then the figures were colored in with bright colors. The shapes were then covered with colors, considering the dominant contrasts.

The effective participation of students from the Visual Arts Department of the University of Bamenda as well as some students from other departments who were passionate about painting made the work less laborious. The collaboration between students and supervisors during this practical phase enabled them to learn more about students with disabilities within the University and the strategies put in place for better inclusive research at the university campus. The result was appreciated as a visual expression of the dissemination of inclusive research strategies on the University of Bamenda campus.

Impact and Feedback about the Mural

This paper was written 1 year after the mural was completed. The mural is still very visible and in good shape. Several administrators and faculty members have commented informally on the mural and how much it adds to the university environment. Some people have stated that they would like to have more murals on the walls around the university and have encouraged the faculty to find ways to develop them.

The impact on students, including those who were involved and those who have seen it, are harder to describe. At the time, students who were involved seemed grateful for the opportunity and were proud of what they were able to accomplish. Since the completion of the mural, students have commented about the mural in passing and faculty have solicited informal comments. Some of the authors have heard from students that there might be some misunderstandings about the images of the mural, as disability awareness is low for some people, and stigma persists. Anecdotal reports are that some students have negative feelings about the colors used, stating that they feel childish and not fitting for a university setting.

We do not have formal information about the mural’s impact on students, staff, or faculty members with disabilities. Finding ways to increase understanding of the mural with students and faculty, including those with vision impairments, would be an additional goal to pursue. Understanding the full impact, interpretations, and understandings would require more follow-up work, ideally as a systematic research study. To date, we are not aware of the mural being used in teaching, which the authorship group plans to do in the future.

Conclusion

This paper describes the development of a mural focused on inclusive research at the University of Bamenda. The painting of this mural is a tangible example of art for inclusion. When seen as street art, it serves as a form of visual communication and appeals to a much wider audience as compared to the written and/or spoken word. Until the 21st century, very few higher education institutions in the world used mural painting as an outreach, collaborative, or inclusive art particularly in the context of the strategies set out by UNESCO (Institute for Statistics, 2009) as part of inclusive research in universities. Our experience indicates that mural-making can be an important addition to knowledge translation and inclusion on campuses.

The implementation of the mural is presented as a social and intellectual means for the propagation of inclusion, and particularly inclusive research, in the campus. The project was based on the PIRL Project process and results while drawing on other authors who have worked in the areas addressed in the project. The project aimed to demonstrate the inclusive research and participation of people with disabilities in all areas of academic and professional activities at the university and to make use of visual arts to make persons with disabilities and their situations visible to the public. The visual representation of the project stands as a medium for advocacy on educational and inclusive research at the University of Bamenda.

The work of developing the mural project went through many stages before the final outdoor mural was completed. This approach required a deep understanding of culture, tradition, and observation to inform the interpretation and creation of the mural. The results include representations of the symbolic elements of community identity in the region where the University of Bamenda is located. The numerous paintings that make up the mural each represent a strategic expression of the results of the means put in place for inclusive research at the university campus. Apart from the esthetics it carries, the didactic elements are rich in meaning and language, and above all communicate the message of inclusivity.

The goals of this project were successfully achieved. We will continue to emphasize that these visual expressions are not meant to replace the narrative forms of knowledge sharing about inclusive research on campus but to complement them. The use of murals such as this one at the University of Bamenda appears to be a beneficial way of involving students, faculty, and community in knowledge dissemination, and a tangible way to engage in interdisciplinary scholarly work.