Professional Documents
Culture Documents
A Thesis
November 2008
ABSTRACT
All across the world, children are potent symbols of war. Children’s drawings, in
particular, are used by aid organizations to not only highlight the situation in war zones,
but also to raise awareness by creating an emotional urgency aimed at increasing political
pressure to end such conflicts. The drawings are powerful in that they are directly related
to the observer’s cultural attitudes towards children and the nature of childhood.
Nonetheless, the drawings also reflect other cultural traits and can be useful in examining
not only the cultural realities of the children, but also demonstrate the complex
relationship between cultural symbols both in and out of the young artists’ world. This
paper examines hundreds of children’s drawings brought back from a camp for internally
displaced people in Darfur in 2004. The drawings demonstrate that the children’s
artwork can be powerful tools in examining the realities of the crisis in Darfur, while at
the same time illustrating the limits of interpretation without thorough ethnographic
fieldwork.
2
1.
Hamza* was a child soldier, originally born in Rwanda. He came to the United
States in early 2003 around the age of 8 and eventually settled with a cousin in New
Orleans.1 Shortly after hurricane Katrina, Hamza and his cousin moved to Chicago and
Hamza began a correspondence with a teacher at John Hersey High School in suburban
Arlington Heights. Despite his background, Hamza was an articulate and mature little
boy. He could speak several languages and often expressed distain for American culture.
“I don’t like American media,” he wrote. “It all involves skinny women either drunk,
smoking, high or the[y] have mental issues.” On the other hand, he expressed an affinity
for movies such as Blood Diamond and Juice. He spoke about his experience as a soldier
and expressed concern for what war was doing to him and his older brother, who was still
in Africa, his fate unknown. “Once me and my brother both got shot,” he wrote. “His
blood was black and mine was deep red. That’s how you know someone’s corrupt and
evil. Their blood is black and their eyes get darker. I don’t like to see that happen to
people.”
In the rebel camp, Hamza was forced to have sex with a girl named Mary.
Afterwards, Hamza said that his commander announced to the entire camp, “Our young
Rwandan has finally become a tru[e] man.” Hamza looked forward to the day when he
would marry her. He wrote fondly of Mary, describing her as “my first friend” and “the
only person I cared about.” But when he found another boy attacking Mary, Hamza
responded with rage. He punched and pushed. A gun was pulled and Hamza was shot
twice in the upper right arm. “I hated him,” he wrote. “I wanted him dead.” Taking a
*
Names
of
the
people
in
this
section
have
been
changed
to
protect
the
identity
of
these
individuals.
3
rock, Hamza was able to knock the boy to the ground. “I kept hitting and hitting,” he
said and soon the boy was rendered immobile. Hamza then took a stick and pushed it
into the boy’s right eye. The struggle then ended and the boy was dead. Hamza looked
down at his wound and remarked that his arm was “bleeding black.” “You bleed the
hate that your brother duz,” Mary said and Hamza remarked that she started to look at
him as if he were “a ghost.” “I was corrupt,” Hamza wrote in his journal. “And the only
After being discovered by an aid organization, Hamza went first to Canada and
then was united with his cousin, Peter, in New Orleans in 2003. Just prior to his 10th
birthday in October 2007, Hamza traveled back to New Orleans to visit relatives and
No one knows for sure what happened to Hamza. According to his cousin, they
were attacked on the street and Hamza was shot several times and died in a local hospital.
However, there is no record of this. There is no death certificate, there is no body. His
All that remains of Hamza is a very short stack of letters and a few pages of a
before his death and given to the teacher in Arlington Heights, the drawing is entitled,
“This is the last of what I saw of my village” (Figure 1). It is a crude drawing, typical of
a young child and could have been made by a child anywhere. It is mainly in black
marker, punctuated by bright, almost jarring scribbles of red. There are two burning
houses, red flames sputtering from the tops. They have flat roofs, a single door and one
window, typical of those found in Rwandan villages, but not unlike western style houses
4
with door knobs and window panes. Three men are shooting guns. The figures are in
simple stick formation. One victim is lying on the ground, red color pouring from his
head and body. His eyes are simply two x’s, not unlike cartoon depictions of death. The
female figures have long hair and one, part of a family of four near the bottom of the
drawing, is clearly pregnant, a large black circle representing her swollen belly. Her
entire body is covered in red. Only one figure is not bleeding, a young child in the
The soldiers are straight-mouthed with triangles over their eyes. Interesting, the
soldiers also have hints of red. Each hand is a red dot, representing not wounds per se,
emotional quality of the drawing is enhanced by the disconnect that most people in the
West have to real situations of such violence and war. And the fact that it was made by a
child who experienced such scenes only adds to the intensity, as cultural attitudes toward
the nature of childhood compounds the observer’s interpretation of the images and
impossible to determine its accuracy. Did Hamza draw an accurate depiction of what he
experienced in his village, or was the drawing more influenced by a perception of what
Drawings like the one Hamza left are used often to highlight the plight of children
in war zones. Children’s drawings offer a glimpse into war from the perspective of a
child and help ignite an emotional response. That emotional response is directly
5
Figure
1
Drawing
by
Hamza,
a
Rwandan
child
soldier,
c.
September
2007
6
related to the cultural attitudes toward childhood and violence inherent within the
observer. Consequently, in the West, drawings like this can be effective tools for aid
drawings have been used over the last hundred years or so to do just that. But questions
remain: to what extent do these drawings reflect the realities of the situation? How much
of the subject matter is influenced by a perception of the child as to what the purpose of
The fact is these drawings are not created in a vacuum, but are the culmination of
a variety of cultural forces working both on the artist and reflected in the perceptions of
the viewers. To some extent, the children may draw what they think others want to see.
In spite of that initial bias, the drawings do offer a depiction of the world to which the
child once belonged and present scenes that only can be expressed by those who
experienced it.
that he himself has spun.”2 The meanings found in the drawings are based not just on the
culture of those who created it, but are “spun” from a multitude of factors. When
interpreting children’s drawings from war zones, one must take into account not only the
conflict to which the child was a witness or participant, but also the realities of their
current situations and the influences of those around them. The drawings reflect all of
those influences and, although they can effectively highlight the plights of children in
war, they may also be valuable tools for assessing culture and the transmission of cultural
7
In examining drawings made by children in the current crisis in Darfur, for
example, one can find elements of culture expressed exclusively from the empirical
world of the child, but also cultural attitudes and artifacts reflected from the aid workers
and doctors with whom they came into contact in the refugee camps. Therefore, the
drawings not only offer a look at war from a child’s perspective, but also demonstrate a
complex relationship between cultural symbols in and out of the artist’s world. The
drawings serve not just as a looking glass into the world of the child, but also reflect the
2.
In early 2004, Dr. Jerry Ehrlich, a pediatrician from Cherry Hill, New Jersey,
received a call from Doctors Without Borders inquiring about the possibility of
Ehrlich had worked with the organization before, completing three missions during the
1990s to Sri Lanka. In addition, Dr. Ehrlich had completed humanitarian missions in the
Republic of Georgia and Haiti with other organizations. At 72 years of age, Dr. Ehrlich
had no plans on retiring anytime in the near future and didn’t think twice about answering
the call in the affirmative. “All I had to do,” he said, “was to show up at Newark airport
After two days of briefings in Khartoum, Dr. Ehrlich was sent to Kalma Camp in
Southern Darfur, a refuge for Sudanese people displaced from the civil war that had been
raging for over a year. Kalma Camp is located to the southeast of the city of Nyala, the
capital of South Darfur. When he arrived, the camp had approximately 45,000 displaced
8
people, mostly from the Fur, Zaghawa and Masalit peoples. Two months later when he
left, the camp was estimated to have over 75,000. A year later, the population
skyrocketed to over 160,000. Today, Kalma camp is home to over 29 different ethnic
and sub-ethnic groups and the population fluctuates around the 100,000 mark. The camp
is often the focus of attacks by Sudanese government forces. One such attack in August,
2008, killed 33 people and wounded over 108. The majority of the victims were women
and children.4
For Dr. Ehrlich, Darfur was like nothing he had ever seen. “Huge amounts of
patients just all on mats and so many of them so sick,” he remembers. “All had
day, there were approximately 200 patients in his medical center, which was merely a
tent with a dirt floor, covered in colorful blankets. There, without the benefit of proper
equipment or facilities, Dr. Ehrlich treated his patients. Although he was the only
pediatrician in the entire camp, one internist from Australia and four western nurses aided
Before making his journey to that remote area of Darfur, Dr. Ehrlich stocked up
on a supply of two items he knew he would need: crayons and paper. After viewing
many years prior an exhibit of children’s drawing created in the Terezin death camp near
Prague during World War II, Dr. Ehrlich decided to start documenting the lives of his
patients through art. He first did this in 1991 in Sri Lanka. Those drawings ended up
being part of a traveling exhibit entitled, “Rice and Honey.” He did the same thing in the
Caucuses and did not think twice about continuing his tradition in Darfur. “Being a
9
pediatrician,” he says, “I just wanted to document what their life was through the [eyes]
of a child.”
When a patient was able to leave the medical center, Dr. Ehrlich handed him or
her several sheets of paper and a box of crayons. Through his translator, the children
would be told to draw something and bring one or two back because he wanted to take
some home as souvenirs. This was done very discreetly, as Sudanese government
officials were very suspicious of the Western doctors and aid workers in Darfur. Dr.
Jerry wasn’t even sure how many would come back. But, slowly, over the next two
months, the drawings began trickling back to the center. He would immediately hide
them in his daypack when they were returned and then, at night back in his dormitory
room in Nyala, he would quickly place the drawings between the pages of a Sunday
edition of The New York Times. “That’s how I got them out of the country,” he says
with a grin.
In total, Dr. Ehrlich brought back 173 drawings. As the drawings were created
outside of the center and beyond the observation of Dr. Ehrlich and the other western
nurses, the circumstances surrounding their creations are not know. In fact, Dr. Ehrlich
did not study the drawings until he was back in the United States. But the purpose for
the drawings was clear to Dr. Ehrlich from the onset. He expected to use the drawings to
help document the atrocities in Sudan and to raise awareness among Americans once he
returned home. Based on his experiences in Sri Lanka, he knew that some of the
drawings were going to be scenes of violence and war. And, as an advocate for children,
he knew that those drawing could be used effectively to stir emotions. “You can learn
what these children are growing up with,” he says. “You can learn what these children
10
have been exposed to… And this is what’s going to impact on their life. And what’s it
going to create? I don’t know. Is it going to create hatred? Animosity? I hope not. I
hope not.”
Like the “Rice and Honey” drawings from Sri Lanka, the Darfur drawings are
currently touring the United States and Canada. In fact, Dr. Ehrlich is not even sure
where the originals are located. He regularly speaks about his experience in Darfur,
often several times a week during the school year to schools up and down the east coast.
He brings a slide projector and talks about the children and the drawings, while
displaying some of the more violent images. Due to the media attention that the drawings
have received, including two documentary films and numerous press reports, the
Sudanese government contacted Dr. Ehrlich in 2007 and asked him to stop displaying the
images.
3.
The conflict in Darfur began in 2003 when two rebel groups, the Sudan Liberation
Army (SLA) and the Justice and Equality Movement (JEM), rose up against the
representation in Sudan’s government. The conflict was preceded by decades of civil war
between government forces and the rebel Sudan People’s Liberation Army (SPLA) in the
South, which ended in a cease-fire in 2002. Rebels in Darfur hoped to gain a similar deal
that was worked out with the South Sudanese. However, the government in Khartoum
11
responded with excessive force in Darfur, attacking villages and arming and supporting
relationships between the various ethnic groups in the area. Most of the people in Darfur
are Muslim, however the degree to which they have adopted Arab culture varies.
Although the western media tends to cloak the conflict along skin color, it is not that
clear. Those tribes who have been targeted by the Sudanese government are tribes that
cling to elements of their traditional culture, such as language and land use.
The Sudanese government and its allied militias overwhelmingly targeted three
ethnic groups: the Fur, Zaghawa and Masalit. Although other groups have now been
drawn into the conflict, in the summer of 2004 these groups made up the majority of
Many of the drawings brought back by Dr. Ehrlich reveal similar scenes: burning
villages, soldiers on horseback and on camels attacking villagers, helicopters and planes
dropping bombs. In fact, over 1/3 of the drawings depict scenes of violence and war.
And it is these images that are most referenced by Dr. Ehrlich and others when discussing
But that is not the whole story, as the children in that refugee camp that summer
produced images representing other aspects of their lives and culture. What is striking
when looking at the images as a whole is the fact that so many of them are not at all
related to war, but represent slices of pastoral life, animals in the region, people gathering
12
wood, and many abstract designs. The drawings collected by Dr. Ehrlich can generally
be categorized as follows:
WAR 60 35%
PEOPLE/NON-WAR 42 24%
ABSTRACT 28 16%
OBJECTS/MISC 26 15%
NATURE/LANDSCAPE 17 10%
One must remember when looking at those figures is that the war was a little over
a year old at the time of Dr. Ehrlich’s arrival in Kalma camp. In the months and years
following, the war will escalate and casualty figures will increase. Currently, the war is
nearing its sixth year and, according to Human Rights Watch, most of the 2 million
people who were displaced by war in 2004 have been repeatedly displaced again when
trying to return to their homes.5 To put it another way, a child from one of the targeted
ethnic groups who is six years old now in Darfur would not have a memory of peace and
in all likelihood could not draw much of anything beyond war, violence or camps for the
displaced.
are over 103 individual images of soldiers, many of whom are shooting guns at people
and homes. There are 23 pictures with burning villages; 39 planes, 22 helicopters and 30
military vehicles are depicted in the 60 drawings. There are six pictures with a random
13
gun image, such in figure 2. Here is a happy boy playing soccer and a gun lies on the
ground at his feet, demonstrating the ubiquitous nature of guns and violence in Darfur.
The gun images are often very accurate depictions of the most common assault weapon
Figure 2 Figure 3
Figure 3 shows a man with his arms up being shot by a soldier, a steady stream of red
pooling on the ground by his feet. Figure 4 shows a man being hit in the head by a large
projectile shot from the back of a moving military vehicle. Some of the soldier figures
are prominent (Figure 5) and many more soldiers blend in with the chaos (Figure 6).
Death often comes from the sky, as planes and helicopters drop their munitions on
the villages below (Figure 7). In fact, in almost every drawing with a burning home,
14
there is an image of either a plane or a helicopter. Like what had occurred for decades
in the South, villages are often attacked first from the air, by either attack helicopters
such as the Russian-made MI-24 or by large cargo planes. The Russian-made Antonov is
the most commonly used plane, as crude explosives made from 55-gallon drums can
Figure 5
Figure 4
Figure 6
15
Figure
7
These crude drawing have captured the senseless slaughter that plagues Darfur.
In almost every drawing of violence, the soldiers are attacking without any resistance.
The people are defenseless. Only one drawing depicts an actual battle with two clear
sides exchanging fire (Figure 8). In this drawing, the government soldiers have hats and
very large weapons, one with a magazine belt that is fed into the gun. The defenders in
Figure 8
16
this case are on horseback, but are diminutive in the face of the very largely drawn
attackers. A lone civilian, probably a woman, cries out behind the front lines.
Much has been made in the western media about the militia known as the
“Janjaweed” and it’s role in the Darfur conflict. The Janjaweed was pieced together in
the 1980s from a loose patchwork of young men from smaller tribes, common criminals
and demobilized soldiers. They were involved in sporadic inter-tribal conflicts, at times
tolerated by the Sudanese government and at other times suppressed.6 Not at all a
popular expression of those Arab peoples in Darfur, the Janjaweed did gain a “modicum”
of support from the Sudanese administration in later years due to their insistence on
spreading what they called “Arabism.”7 As a result, these “devils on horseback” became
the means by which the Sudanese government responded to the uprising in 2003. They
are paid monthly and have been armed by the government, sometimes even given regular
army uniforms and an insignia of rank. Many have a patch showing an armed horseman.8
The Janjaweed have been blamed for the majority of the atrocities committed in
Darfur, including the rapes of women and girls, the burning and looting of villages and
the destruction of livestock. Their presence in the conflict has spread fear among the
civilian populations. Both UNICEF and Human Rights Watch have noted that the
Janjaweed militia is the most frequently cited source of widespread fear in the region. In
a 2005 UNICEF report, it was noted that “children talk of the violent events they
the outskirts of camps and settlements.”9 Mohammed, a young 8‐year‐old child
interviewed by Human Rights Watch in 2003 said, “I am still scared of the
Janjaweed. I remember the guns and the planes.” 10
17
Likewise,
the
Janjaweed
figure
prominently
in
the
drawings
brought
back
by
Dr. Ehrlich. Many of the soldiers firing their weapons upon people and homes are
either riding horses or camels (Figures 9 and 10). Some are obviously chasing
down unarmed civilians and engaging in the burnings of homes.
Figure 9 Figure 10
Dr. Ehrlich recognizes the significance of the drawings and uses them to
highlight the situation in Darfur. Doctors working with Human Rights Watch did the
same thing in 2005 and those drawings are a part of a traveling exhibit entitled,
“The Smallest Witnesses.” For Human Rights Watch, the images represent a “visual
vocabulary” that documents violations of international law and human rights
abuses. The drawings, they say, “corroborate unerringly what we know of the
crimes” and make a “compelling case against the government of Sudan.”11
18
4.
The drawings provide a glimpse to the human toll of the crisis in Darfur. The
more violent images are being used to document the enormous amounts of
destruction there. Lack of photographic evidence of abuses makes the drawings all
the more significant. However, the drawings also reveal other aspects of life in
Darfur. One must remember that the majority of images produced by children in
Kalma camp in 2004 and brought back by Dr. Jerry Ehrlich were not war‐related. In
fact, some of the drawings are peaceful recreations of village life that do not disclose
any of the atrocities besieging the region. This is significant in that these drawings
were created in a camp for internally displaced people by children who were forced
to flee their homes and, for one reason or another, found themselves in a medical
tent in one of the fastest growing IDP camps in Darfur.
There are drawings of the various dwellings found in Darfur, from the large
huts characteristic of the Zaghawa people (Figure 10) to square brick buildings of
storefronts found in the center of some of the larger towns (Figure 11). The brightly
colored clothes worn by people in this desert region are mimicked in the bright
colors chosen by the children to draw their lives. Wristwatches are shown in every
color of the rainbow (Figure 12). Even military vehicles, painted mostly drab tan
and gray in reality, are brought to vivid life with bright colors at the hands of the
children (Figure 13).
Villagers can be seen walking with bundles on their heads. Women with axes
are walking no doubt to collect the firewood for the day’s cooking duties. There are
pictures of animals and birds native to the region. Colorful flowers and plants dot
19
Figure 10
Figure 11
Figure 13
Figure 12
landscapes and outlines of brightly colored hands are central to several drawings.
There are scenes of children playing soccer and of people sitting at tables. One
beautiful drawing depicts a sun setting (or rising) over a body of water (Figure 14).
20
Another
shows
a
bright
sun
with
eyes
and
with
radiant
rays
shining
brightly
over
a
smiling woman (Figure 15). In other pictures, there are designs that denote an
arabesque quality, typical of art in the Islamic world (Figure 16).
Figure 14
Figure 15
21
Figure
16
Life in the camp is also documented and the influence of western aid
organizations is apparent. The International Red Cross, UNICEF and OXFAM provided
early services to Kalma, which included the establishment of programs exclusively for
children. Volleyball and soccer tournaments are common occurrences in the camp. In
addition, Oxfam uses theater, games and song to teach sanitation and health practices to
the children. In one of the children’s drawings, there is a building with “UNICEF”
printed clearly under the flag on the exterior (Figure 17). Children huddle in a circle on
the street, playing a game. A volleyball net can be seen in the corner, with two children
hitting a ball back and forth. In another drawing, a volleyball game is being played by
four children. A tank truck is at the center of another, with “UNICEF” printed on it’s
side. There is also a drawing of a western woman, most likely an aid worker in the camp.
She has bright red lips and long, curly black hair (Figure 18). The flag of Sudan is also
featured prominently in several drawings and adorns the antennae of several vehicles.
22
One child, who signed the paper as “Zakia,” even drew a map of Sudan (Figure 19),
perhaps as a way to teach something to the doctor in the medical tent about her country.
Figure
18
Figure
17
Figure 19
23
5.
The impetus behind Dr. Ehrlich’s drawings was not ethnographical. The
motivation was to simply document the atrocities occurring in Darfur. Doing it through
the eyes of children, Dr. Ehrlich reasoned, would increase the emotional response in
those back in the United Stated viewing the images. Consequently, the urgency for
action to end the crisis in Darfur could be made with greater intensity. Although the
conflict has not abated, the media attention given to the drawings and the large
membership in advocacy organizations here in the United States and in other western
countries gives support to that fact. Cultural attitudes about the nature of childhood in the
West make the drawings all the more significant to the Western viewer. In other words,
children have become part of the “meaning “ of war and that meaning is directly related
to the ways in which “societies use children as symbols of virtue, sacrifice, patriotism and
represents innocence but where childhood itself is extended longer than in other cultures,
Although children’s drawings have been used over the last one hundred years to
document the affects of war on children, the situation in Darfur has brought the subject of
children’s drawings into the realm of law. Last year, some 500 drawings made by
Darfuri refugees in Chad were submitted to the International Criminal Court as evidence
government. 13 The ICC has named two individuals in the Sudanese government as the
masterminds behind ethnic cleansing in Darfur. In July, 2007, the chief prosecutor at the
ICC accused Sudanese president Omar al-Bashir as being directly responsible for what is
24
happening in Darfur, advocating for the indictment of the president on ten counts of
genocide, war crimes and crimes against humanity.14 The Court is expected to issue a
ruling on whether or not to issue an arrest warrant for the president early next year.
The drawings do corroborate much of the stories being told by victims in Darfur.
the simply sketched images by the children. The accuracy of the planes, tactics and even
the weapons used are strong indicators that the children were, in fact, drawing what they
saw. The fact that these children were in a camp for displaced people give those small
voices a certain authority. One can imagine, however, that even a small child, thrown
into the chaos of an IDP camp, could interpret the simple instructions given by Dr.
Ehrlich through a translator in such a way as to be more inclined to focus on the reasons
that brought him or her into the camp in the first place. Indeed, the Sudanese government
has downplayed the validity of the drawings by saying that the drawings were merely
made by children given clear instructions and guidance by the Western forces within the
camp. However, the role that the Sudanese government has played in the situation in
Darfur makes such protestations irrelevant. The fact that so many of the drawing that Dr.
Ehrlich returned from Darfur were not war related, supports the idea that the children
As ethnographical tools, however, the drawings are limited. The instructions for
the drawings were made through a translator, so one cannot be sure as to what the exact
instructions were or the questions that might have come up with the children. In addition,
the drawings were not made under the supervision of Dr. Ehrlich or others. The children
simply brought the crayons and paper back to their dwellings and the circumstances of
25
their creations are not known. Due to the volatile nature of the situation in the camp, the
drawings were collected very discreetly and post interviews with the children were not
conducted and questions were not asked of the children in regard to the images contained
in the drawings. Indeed, the name, gender and ethnicity of each child were not recorded.
Therefore, some of the cultural subtleties contained in the drawings are not clear.
When Human Rights Watch used drawing with children in refugee camps in
Chad, the children were interviewed during the entire process and asked to explain the
drawings. Those drawings bear many similarities to the drawings brought back by Dr.
Ehrlich, especially the use of bright and vivid colors. In one case, Dr. Annie Sparrow,
the researcher behind the study, asked a child about the brightly colored mass at the
center of the page. The mass was red, blue, yellow and green and resembled a flower.
The child replied that the image was her “hut burning after being hit by a bomb.”15 To
the casual observer, however, that image did not at all resemble fire or an explosion.
Unfortunately, similarly interpreted images may also be in Dr. Ehrlich’s drawings, but
the true meaning is difficult, if not impossible to interpret. This is very much apparent in
the several drawings depicting colorful wristwatches. Why the children drew watches
and what it meant to them is unknown. Dr. Ehrlich noticed those watches upon his
return. “I have no idea why they drew them,” he admitted. Further observations needed
to have been made at the source, thus demonstrating that there are limits to “thick
drawings. Cultural artifacts such as clothing and dwellings are clearly displayed, as are
the animals important to the groups and the gender roles ascribed by the society. Islamic
26
art and design are clearly evident in the drawings. Ideas about patriotism are also
reflected in the images. The fact that some kids drew maps of Sudan and displayed the
Sudanese flag reflects certain ideas about identity in Darfur that may go beyond ethnic or
tribal lines. However, due to the lack of inquiry about the images with the kids at the
There is no doubt that the war-related images provide us the most useful
information in analyzing the conflict in Darfur. The situation is clearly highlighted in the
drawings, giving us a certain glimpse of a conflict that, for the most part, lacks other
photographic evidence. Indeed, this is the reason why the drawings were created in the
first place: to provide a first hand account of the atrocities experienced by children and
their families in Darfur. The emotional impact is apparent. Dr. Ehrlich himself admits
that the pictures do more to describe “the horrendous conditions” in Darfur than can his
words or stories. There is no doubt that the images elicit an emotional response—a
response that is directly related to the value western culture places on childhood. Like
Dr. Ehrlich, I too have shown these images to thousands of people across the country
through presentations and a documentary film. I have seen people brought to tears when
looking at these drawings. Dr. Ehrlich’s drawings have inspired action. Tom Flannery, a
critically acclaimed folk singer, was moved to write a song about the drawings,
personifying an unnamed child in Darfur. “Give me crayons and paper,” he sings. “I’ll
draw what I see/If I close my eyes/Can you still see me?” These drawings tell us a little
about the experiences of the children in Darfur and may give us some clues as to their
cultural traits, but perhaps they also may tell us more about ourselves.
27
ENDNOTES
1
Hamza’s story is vague and is told through letters that he wrote to a teacher at John
Hersey High School and through interviews with a sophomore girl at Hersey who had
befriended Hamza in New Orleans and again in Chicago once they had both migrated
north following hurricane Katrina. No one knows for sure just how old Hamza was. His
diminutive frame may have caused those near to him to think he was younger than he
actually was; his high school friend thought he was only 8 in the Fall of 2007. However,
I believe that he was at least two years older, probably turning 11 that Fall (his birthday
was purportedly in October).
2
Clifford
Geertz,
“The
Interpretation
of
Cultures
(New
York:
Basic
Books,
1973),
5.
3
All quotes from Dr. Ehrlich are taken from a filmed interview conducted with the author
in July 2005 in Cherry Hill, New Jersey.
4
Louis Charbonneau, “Darfur violence caused 230,000 to flee in ’08:UN,” Reuters News
Service, October 22, 2008 . (http://africa.reuters.com/top/news/usnJOE49L014.html)
accessed 11.9.08
5
Human Rights Watch, “Darfur: Five Years On,” Human Rights Watch.
http://www.hrw.org/features/darfur/index.html.
6
Gerard
Prunier,
Darfur:
The
Ambiguous
Genocide
(New
York:
Cornel
University
Press,
2005),
97.
7
ibid.
8
Prunier,
98.
9
UNICEF,
“Child
Alert:
Darfur”
(New
York:
UNICEF,
2005),
17.
10
Human
Rights
Watch,
“The
Smallest
Witnesses:
The
Crisis
in
Darfur
Through
Children’s
Eyes”
(New
York:
Human
Right
Watch,
2005),
6.
11
Ibid.,
5.
12
James
Marten,
ed.,
Children
and
War:
A
Historical
Anthology
(New
York:
NYU
Press,
2002),
8.
13
Andrew
Grice,
“Darfur:
The
Evidence
of
War
Crimes,”
The
Independent
August
7,
2007,
lead
story.
14
Martin
Plaut,
“Judicial
noose
tightens
around
Bashir”
BBC
News
July
14,
2008
(http://news.bbc.co.uk/2/hi/africa/7498459.stm).
15
Human
Rights
Watch,
“The
Smallest
Witnesses,”
4.
28
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