Tag Archives: APW

Shukas, a sample page from my upcoming book.

Take a Look Inside my Art Book!

Work on my book is progressing nicely so I thought I’d give you a sneak peek at a few pages.

Living Walls, a sample page from my upcoming book.

Living Walls, a sample page from my upcoming book.

Art Inspired by Africa – An Artist Visits the African People & Wildlife Fund features field sketches created at the African People & Wildlife Fund (APW),  studio paintings inspired by my visits, excerpts from my field journal, a foreword by Dr Laly Lichtenfeld (Exec Dir. of APW) and details of APW programs.

Field Sketches, a sample page from my upcoming book.

Field Sketches, a sample page from my upcoming book.

The book will be approximately 50 pages, in a landscape 8×10″ format and will be available for sale in late April. As with my sales of field sketches, paintings and limited edition giclées, I’ll be making a donation to conservation from the sale of every book. This will go to help APW’s work on the Maasai Steppe of Tanzania

Shukas, a sample page from my upcoming book.

Shukas, a sample page from my upcoming book.

But one lucky person can win a signed copy by helping me choose the cover design. There are two options shown below – white or yellow. You can vote by leaving a comment here or on my Facebook page. I’ll be announcing the winner and the cover choice on March 31st!

Art Inspired by Africa Covers

Art Inspired by Africa Covers. Tell me your choice in a comment and you might win a copy!

Now I really must go and finish writing the Introduction!
Until next time…
Alison

Learn more about the African People & Wildlife Fund.

www.ArtInspiredbyAfrica.com
Donating to African conservation from every sale.

 

Kisimir, Nicholls, Living Wall, Tanzania

Human-Lion Conflict in Tanzania

Kisimir, Nicholls, Living Wall, Tanzania

Elvis Kisimir of APW & artist Alison Nicholls at a Living Wall in Tanzania

The start of 2015 has not been as peaceful as many across the world hoped. There have already been many atrocities and human tragedies in the first 2 weeks of this new year and my thoughts go out to all who have lost family members, friends and colleagues.

The start of the year was also tragic for a pride of lions near Tarangire National Park in northern Tanzania. On New Year’s Eve the pride killed donkeys which were kept in a traditional thorn boma in a Maasai homestead, so the moran (warriors) hunted the lions and killed one. Early on New Year’s day a woman and her child found a lion in their boma (also a traditional thorn boma). Thankfully the woman and her child were unharmed, but the moran of the area started gathering in large numbers and hunted down another 6 lions. One of APW’s Human-Wildlife Conflict officers tried to diffuse the situation. (Elvis Kisimir, pictured above, is another of APW’s HWC offers. Like the others, he is Maasai, from a village in the area, and has successfully prevented warriors from embarking on lion hunts in the past.) However, this situation involved huge numbers of warriors and attempts to resolve the issue peacefully were unsuccessful.

I’m adding this post as an update to “How Do You Know If Conservation Is Working?”, a post I wrote at the end of last year and which you can see below. Unfortunately, this incident is a prime example of why the work of organizations like APW is so vital and why the installation of more Living Wall bomas (fortified bomas that protect livestock, prevent habitat destruction and dramatically reduce incidents of human-wildlife conflict) are essential. The area where the donkeys were killed has very few Living Wall bomas although APW hopes to install many more there in the future. But each wall takes time and money to install. APW founder & Executive Director Dr Laly Lichtenfeld told me that many people in other communities with significant numbers of Living Walls have expressed sympathy to APW staff over the lion killings. They appreciate the numerous benefits that working with APW has brought to their communities – not only Living Walls, but high school scholarships for children, natural resource management seminars for adults, grants for small businesses and the creation of the only Women’s Association on the Maasai Steppe, to name just a few. APW aims to expand these programs to many more communities and I hope you will consider supporting their work.

2015 has certainly not started as we all hoped, but lets make sure we turn it around very soon.
Until next time…
Alison

Donate to help APW expand their work on the Maasai Steppe

How Do You Know If Conservation Is Working? (originally posted on Dec 12 2014)

Quite simply, as in any other field, you have to evaluate your results. It is easy for conservation efforts to be undertaken with the best of intentions, only to find that there are unexpected negative consequences which put the whole project in question. Unfortunately, too many organizations want quick fixes and they don’t stick around to ensure that their efforts have the desired results.

That is certainly not the case with the African People & Wildlife Fund (APW) in Tanzania, an organization I am proud to support. Dr Laly Lichtenfeld, Charles Trout and Elvis Kisimir of APW recently had a paper published in Biodiversity & Conservation, titled Evidence-based Conservation: Predator-proof Bomas Protect Livestock and Lions. The team evaluated their depredation data relating to large carnivore attacks on livestock in their study area, and found a significant decline in depredation events after the construction of fortified bomas (also known as Living Walls).

The fortified bomas prevent attacks on livestock by large carnivores and this prevents retaliatory attacks on carnivores by livestock owners. They reduce habitat destruction because they do not require repeated cutting of thorn bushes like traditional bomas, and they reduce the burden on women, because they require no maintenance. But significantly, they also found that the reduction in depredation events due to construction of fortified bomas, did not increase the number of carnivore attacks on non-fortified bomas or on livestock at pasture. Had this been the case, they could have been reducing depredation at the boma, only to increase it elsewhere. Instead, the evaluation of their long-term data showed that fortified bomas are an effective conservation tool and should be considered by other organizations aiming to reduce human-carnivore conflict.

And that is how you know conservation is working!

Donate to help APW continue their work on the Maasai Steppe!

Until next time…
Alison

Art Inspired by Africa and Conservation
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Kisimir, Nicholls, Living Wall, Tanzania

How Do You Know Conservation Is Working?

Kisimir, Nicholls, Living Wall, Tanzania

Elvis Kisimir of APW & artist Alison Nicholls at a Living Wall in Tanzania

Quite simply, as in any other field, you have to evaluate your results. It is easy for conservation efforts to be undertaken with the best of intentions, only to find that there are unexpected negative consequences which put the whole project in question. Unfortunately, too many organizations want quick fixes and they don’t stick around to ensure that their efforts have the desired results.

That is certainly not the case with the African People & Wildlife Fund (APW) in Tanzania, an organization I am proud to support. Dr Laly Lichtenfeld, Charles Trout and Elvis Kisimir of APW recently had a paper published in Biodiversity & Conservation, titled Evidence-based Conservation: Predator-proof Bomas Protect Livestock and Lions. The team evaluated their depredation data relating to large carnivore attacks on livestock in their study area, and found a significant decline in depredation events after the construction of fortified bomas (also known as Living Walls).

The fortified bomas prevent attacks on livestock by large carnivores and this prevents retaliatory attacks on carnivores by livestock owners. They reduce habitat destruction because they do not require repeated cutting of thorn bushes like traditional bomas, and they reduce the burden on women, because they require no maintenance. But significantly, they also found that the reduction in depredation events due to construction of fortified bomas, did not increase the number of carnivore attacks on non-fortified bomas or on livestock at pasture. Had this been the case, they could have been reducing depredation at the boma, only to increase it elsewhere. Instead, the evaluation of their long-term data showed that fortified bomas are an effective conservation tool and should be considered by other organizations aiming to reduce human-carnivore conflict.

And that is how you know conservation is working!

Donate to help APW continue their work on the Maasai Steppe!

Until next time…
Alison

Art Inspired by Africa and Conservation
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Tea by the Fire Field Sketch 11x14" © Alison Nicholls 2014

Sketching in the Dark in Tanzania by Alison Nicholls

Tea by the Fire Field Sketch 11x14" © Alison Nicholls 2014

Tea by the Fire Field Sketch 11×14″ © Alison Nicholls 2014

Tea by the Fire was possibly one of the most difficult sketches I’ve created, because I was sketching in near darkness. I had been invited into the home of a Maasai family to sketch, but when I got inside I couldn’t even see the chair I was offered, and I had no idea how many people were in the house, never mind whether they were men, women or children. I was doing pretty well with my KiMaasai greetings by this stage in my trip, so I was hoping to be able to say the correct greetings to the various members of the family according to their gender and age, but it is very difficult to greet people when you don’t know who they are or even where they are!

My eyes took a couple of minutes to adjust and then I could see 2 women and 2 children by the fire. There was a small opening high up on the wall which let the smoke out and a little light in. There were pots on the fire and soon we each had a lovely cup of hot milky tea. Gradually I was able to start putting pencil to paper and by the time I finished sketching, I could see the family and the contents of the house quite well. I wanted the sketch to show the darkness of the house and the tiny slivers of light from the window.

As I sketched, I was thinking about this amazing opportunity and how removed I felt from my normal life. I like to avoid the use of technology as much as possible during my travels in Africa. Its a kind of escape for me. But every now and again I would be reminded that technology reaches most places these days – a cellphone screen would briefly flood the house with a cold blinding light as one of the family members received an incoming call or text!

Until next time…
Alison

Art Inspired by Africa and Conservation
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Alison Nicholls with Charles Trout

Alison Nicholls at The Explorers Club with Charles Trout, Director of Programs at the African People & Wildlife Fund. Charles introduced Alison’s lecture: African Conservation through the Eyes of an Artist.

I recently gave a lecture, African Conservation through the Eyes of an Artist, at The Explorers Club in New York City. The lecture was very well attended and I was fortunate to be introduced by Charles Trout, Director of Programs for the African People & Wildlife Fund in Tanzania. Charles gave a wonderful introduction, speaking about my visits to APW and the effect my art has had on APW’s educational programs and work with the local community.
Explorers Club Alison Nicholls lectureExplorers Club Alison Nicholls lecture
Here are a few images of the pre-lecture reception. It was a lovely evening so we were able to make use of both the library and the outdoor terrace. The lecture was also live-streamed on the club’s website and I was delighted to receive comments from those who also watched it online. The recording of the lecture will soon be available online and I will include a link to that very soon.

Explorers Club Alison Nicholls lecture

Alison Nicholls with her parents, Margaret & Rob Cross, at The Explorers Club

The evening was made even more special by the fact that my parents, who live in the UK, were visiting and were able to attend. All in all it was a great experience and I hope that I can continue to use my art to raise awareness and funds for some of the great conservation organizations doing such valuable and inspiring work across Africa.
Explorers Club Alison Nicholls lecture
Until next time…
Alison

Learn more about The Explorers Club.
Learn more about the African People & Wildlife Fund.

Art Inspired by Africa and Conservation
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Living Walls, acrylic 29x29" by Artist Alison Nicholls

Living Walls, acrylic 29×29″ by Artist Alison Nicholls

Living Walls
Acrylic 29×29” by Alison Nicholls

Human-wildlife conflict is increasing across the globe as the human population expands and people compete with wildlife for land, food and water. People usually prevail and wildlife is squeezed into ever smaller ‘islands’ of protected land, but there are places where these trends are being reversed, where people and wildlife share natural resources for their mutual benefit. On the Maasai Steppe in northern Tanzania, the African People & Wildlife Fund consulted with local communities and created Living Wall bomas, fortified corrals, in which families keep their livestock overnight.

Traditional bomas are built of piles of thorny acacia brush which must be replenished every few months, often leading to deforestation in the area. Even then, predators can get into a poorly constructed boma, or their presence can panic livestock who break out into the bush, where they are more vulnerable to attack. In the past, people might retaliate against predators by tracking and spearing the animal responsible for killing livestock, but today livestock carcasses can be laced with lethal agricultural poisons which kill any animal, bird or insect that feeds from the carcass. For this reason, predator numbers have been plummeting (along with those of vital scavengers like vultures). If livestock can be kept safe in bomas at night, when most attacks occur, then people will have no reason to retaliate against predators and their numbers can recover.

A Living Wall boma differs from a traditional boma in several ways. It is made of chain-link fencing held up by living fence-posts cut from native Commiphora trees. The trees are not killed by the cutting of thick branches for fence-posts, and the chain-link wire ensures that the livestock cannot break out of the boma. My Living Walls painting shows a cow, a goat, a sheep, a donkey, a spotted hyena, a leopard and a lion, linked by the crossed lines of the chain-link wire. Some of the lines are shaped into the distinctive branches of the Commiphora, with their trifoliate leaves (leaves with 3 leaflets). Vegetation of all types grows up and around a Living Wall, creating an impenetrable barrier so that the Living Wall cannot be breached and livestock and predators cannot see each other, which is why the eyes of each animal in the painting are covered with Commiphora leaves. The fact that the painting shows livestock and predators as being physically close and linked together by the Living Wall, mirrors the situation on the Maasai Steppe, where they share the same land and the future of both are interlinked.

400 Living Walls are now in operation on the Maasai Steppe, protecting 75,000 head of livestock nightly. The walls are in great demand and no livestock protected by a living wall have been killed since the program started in 2008. Living Walls are installed in areas where livestock depredation is high, so the installation of just a few Living Walls can lead to a drastic reduction in attacks on livestock. Local monitoring shows predator attacks have dropped precipitously, as have retaliatory killings of predators by livestock owners. Living Walls are changing attitudes to predators and they allow the Maasai to continue to live with lions, an animal of vital cultural importance.

The original acrylic painting of Living Walls is available for sale, priced at US$4800. If it is sold privately I will donate 40% of the sale price to APW. If it sells during an exhibition where the venue collects a commission (usually between 10-40%), APW will still receive a minimum of 10%. Limited edition giclées are also available with a 20% donation to APW from the sale of each piece.

To see this painting, join me at The Explorers Club on September 29th to hear about my conservation-themed art based on visits to the African People & Wildlife Fund in Tanzania and Painted Dog Conservation in Zimbabwe. If you can’t make it to the club you can Live Stream the Lecture Here at 7pm EST.

Until next time…
Alison

Art Inspired by Africa and Conservation
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Artist Alison Nicholls

Artist Alison Nicholls trying to say Conservation Conversation 10 times quickly!

A great deal of my conversations are about conservation (try saying that fast 10 times!) and they often lead to topics that seem depressingly impossible to resolve. Climate change, corruption, poaching, human-wildlife conflict…I could go on. As James K. Sheppard, a conservation scientist with the San Diego Zoo, told mongabay.com “conservation biology has arguably become the most depressing of the sciences”. He noted how potential conservationists of the future with optimistic personalities may be discouraged from joining the ranks of conservationists by the general doom and gloom that can pervade discussions in the field.

But the article by Jeremy Hance went further than this and aimed to highlight some of the great achievements in conservation biology today. And, if you look, there are many. So if you are feeling full of despair, read this article and take hope:

Mongabay.com: Why conservationists need a little hope

And if you’d like more evidence of conservation successes, join me at The Explorers Club on September 29th to hear about my conservation-themed art based on visits to the African People & Wildlife Fund in Tanzania and Painted Dog Conservation in Zimbabwe.

Until next time…
Alison

Art Inspired by Africa and Conservation
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PleinAir Today

PleinAir Today

In the US, plein air events (painting in the open air) attract numerous fantastic artists and produce some of the best art I’ve seen. Although painting in the open air is exactly what I do when I’m field sketching, I don’t generally think of myself as a plein air artist because plein air is very much dominated by landscape artists. But I’ve decided I need to stop thinking this way. So I’m really pleased to be featured in PleinAir Today – the weekly email you see above (click the link to read the article).

Find out more about PleinAir Today, Plein Air Magazine and Outdoor Painter.

And, if you would like to hear more about my plein air painting (!) and conservation-themed artwork, join me as I speak at The Explorers Club in New York City on September 29. Reservations are required.

Until next time…
Alison

Art Inspired by Africa and Conservation
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I’m roaring ahead with plans for extra conservation donations for World Lion Day!
And I’m trumpeting my plans for World Elephant Day on August 12!

So here is my plan..
from August 8 until the end of August 12, if you purchase any painting, field sketch or limited edition reproduction of a Lion (or Lioness) or Elephant, I will donate 40% of the sale price to African Conservation organizations.

The donation will go to either the African People & Wildlife Fund (APW) in Tanzania or the Painted Dog Research Trust in Zimbabwe, depending on the artwork and where my inspiration for the piece came from.

Just to give you some ideas, here are a few pieces you might like…

Young Male Lion, original field sketch 11x14"

Young Male Lion, Original and limited edition available

 

From the Rocks by Alison Nicholls

From the Rocks. Original and limited edition available.

Hide of an Elephant. by Alison Nicholls

Hide of an Elephant. Original and limited edition available.

Remember, 40% will be donated to African Conservation!

You can use these links to see Original Paintings, Field Sketches, and Limited Edition Reproductions.
Please feel free to contact me if you have any questions. Trunk calls accepted!

Until next time…
Alison

Art Inspired by Africa and Conservation
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Milking Time Field Sketch by Alison Nicholls © 2014

Milking Time Field Sketch by Alison Nicholls © 2014

Milking Time was the 2nd of 3 sketches, created in just a few minutes while the Maasai women milked the cows in the morning. I asked them not to pose but just to go about their usual milking routine, so my time was limited for each sketch. I confess I had no idea that they could milk a cow so quickly, but lack of time is a great motivator and the sketches really did flow from my pencil.

Before I began sketching I did attempt to milk one of the cows myself. As I expected, it shied away from me. After all, I do look & sound completely different to the Maasai people it knows. But the reaction of that cow did save me from being exposed as being completely incompetent in the milking department. I think I’ll stick to sketching…

Thanks go to the African People & Wildlife Fund in Tanzania for arranging this sketching opportunity for me. I was visiting APW for the 3rd time, learning more about their work with the communities of the Maasai Steppe. I’ve just sent copies of all my sketches back to Tanzania for the people who featured in them. To find out more about my visits to APW and to hear about my conservation-themed artwork, join me as I speak at The Explorers Club in New York City on September 29. Reservations are required.

Until next time…
Alison

Art Inspired by Africa and Conservation
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Women receiving Micro Grants from APW in Tanzania   photo by African People & Wildlife Fund/Deirdre Leowinata

Women receiving Micro Grants from APW in Tanzania (photo by African People & Wildlife Fund/Deirdre Leowinata)

I live in Westchester County, near New York City. It is classic commuter belt territory, where there are many families with children. So when I meet someone new, the question “do you have children?” often comes up. When I answer “no, just a dog” the conversation usually comes to an end. People are too polite to ask why I have no children, perhaps thinking it wasn’t possible for me to have any, so I often say “I chose not to have children”, just so they don’t feel uncomfortable.

In rural Tanzania (and most rural parts of Africa) a related but slightly different question comes up: “how many children do you have?”. My answer is also slightly different. I just say “none” and smile broadly because I know that the next question will be “why not?”, accompanied by a horrified expression. When I say I chose not to have children I get exactly the same response again, “why not”, still accompanied by a horrified expression. Then I have to explain how different my life is and, frequently, the women I am speaking to will offer to give me a child. I’m never quite sure how serious they are but I’ve noticed that they always offer me a young girl, never a boy, because boys are considered more valuable (that is whole other blog post in its own right). We all laugh but I know that they now have serious questions about my sanity!

Anna Flam, an intern at the African People & Wildlife Fund was with me during one of these conversations, and she has written a great post for APW about this issue and about an inspirational Maasai woman, Joyce, APW’s Conservation Enterprise Development Officer. You can read the full post here and see why I describe Joyce as inspirational:

Noloholo Environmental Micro Grants – Empowering Women for Big Cat Conservation

Until next time…
Alison

Art Inspired by Africa and Conservation
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I know a magical place…

Where the dry thirstland of the Kalahari Desert…

Okavango Delta photo by Alison Nicholls

photo by Alison Nicholls

Meets the spreading waters of the Okavango River…

Here lies the Okavango Delta – the World’s 1000th World Heritage Site!

photo by Nigel Nicholls

photo by Nigel Nicholls

There are 1000 reasons to visit…

Here are a few of mine…

Okavango Delta, Botswana, photo by Nigel Nicholls

Walking among the wildlife. Photo by Nigel Nicholls

Okavango Delta, Botswana, photo by Nigel Nicholls

A birder’s paradise! Photo by Nigel Nicholls

Okavango Delta, Botswana,photo by Nigel Nicholls

Amazing sunsets. Photo by Nigel Nicholls

Okavango Delta, Botswana,photo by Nigel Nicholls

Floating flowers… Photo by Nigel Nicholls

Okavango Delta, Botswana,photo by Nigel Nicholls

Mokoro trips. Photo by Nigel Nicholls

Okavango Delta, Botswana,photo by Nigel Nicholls

Did I say amazing sunsets?! Photo by Nigel Nicholls

Okavango Delta, Botswana, photo by Nigel Nicholls

Herds in the dust. Photo by Nigel Nicholls

Alison Nicholls sketching in Botswana.  Photo by Nigel Nicholls

Great sketching! Photo by Nigel Nicholls

You can find the full article about the listing of the Okavango Delta on the IUCN website here:

But don’t just visit the website, visit the Okavango!

See my African Field Sketches, including some from the Okavango Delta.

Until next time…
Alison

Art Inspired by Africa and Conservation
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Alison Nicholls sketching in Tanzania

Alison Nicholls sketching in Tanzania. Photo: African People & Wildlife Fund/Deirdre Leowinata

The Africa Geographic website is host to numerous fascinating blogs featuring photographs, articles, travel news, opinions and wildlife sightings from all over Africa. But there were no blogs associated with art, so I approached them with the idea of a new blog series called Art of Africa. I’ll be posting regularly to Art of Africa but don’t worry, I will continue to post unique content here as well.

Why don’t you check out my 1st Art of Africa post and leave me a comment – it will be much appreciated!

Art of Africa – Sketching Among the Maasai.

Take care and have a wonderful weekend!

Until next time…
Alison

Art Inspired by Africa and Conservation
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Mother's Milk Field Sketch by Alison Nicholls © 2014

Mother’s Milk Field Sketch by Alison Nicholls © 2014

This sketch captures everything I enjoy about field sketching. People. Animals. Color and pattern. Speed. Simplicity.

You might be thinking that it doesn’t look all that simple, as it contains a woman, her child, a cow and a calf, plus the brightly colored, patterned shuka. But in reality, the sketch was very simple. The heads of the woman and her child are just simple shapes and I didn’t include the pattern on the shuka, just lines to show the main folds. The cow required more detail, just to get the perspective right and perhaps most importantly, to show that the woman’s head is leaning against the cow’s flank, highlighting the connection between them. Although the shuka covers the calabash the milk is being collected in, you can still tell what is happening here. I did many pencil sketches in quick succession on this morning, then added watercolor later that day (I don’t use photos or video to do this and I always finish my field sketches in the field, so that I can honestly say they were completed on site).

I am, as ever, grateful to the friendly people of Loibor Siret in Tanzania who allowed me the wonderful opportunity to sketch in their home. I am packing up copies of all the sketches I did that day to send to them. I am also grateful for the opportunity to stay with the African People & Wildlife Fund who are doing great work with communities on the Maasai Steppe of northern Tanzania.

Learn more about the valuable work of the African People & Wildlife Fund on the Maasai Steppe in Tanzania.

See more of my African Field Sketches.

Until next time…
Alison

Art Inspired by Africa and Conservation
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Alison Nicholls being dressed in shukas.

Alison Nicholls at Loibor Siret School in Tanzania            photos by African People & Wildlife Fund/Deirdre Leowinata

Shukas are the pieces of cloth, often patterned and brightly colored, which are worn by the Maasai of East Africa.
So why am I being dressed in shukas in this photo? Because I was asked to be Guest of Honor at the Loibor Siret Primary School for their end of school prize-giving ceremony!

I was visiting Tanzania to stay with the African People & Wildlife Fund, who are based close to Tarangire National Park. I have visited 3 times now, sketching on site and learning about their work helping communities manage their natural resources for the mutual benefit of people & wildlife. During my visits I have taught a number of drawing classes at the school but on this trip I had also arranged to stencil some of the classrooms, paint one of the end walls of the school, and hang the village of Loibor Siret’s first artwork exhibition (more posts about all this will be coming soon). It was an unexpected and very pleasant surprise to be asked to be guest of honor at the school closing a couple of days later. I knew I would be asked to give a short speech so I wrote it in English and asked Everest, who works at APW, to translate it into KiSwahili for me (the language that everyone learns at school in Tanzania). I think there was a little doubt that I would be able to read the speech in KiSwahili, but it is written phonetically so after a couple of practices I was fairly understandable! In the speech I congratulated the students who were to receive prizes, but reminded all the others that they should work hard because they too have the gift of education, a gift which can help them, their families, their community and their country.

Alison Nicholls at Loibor Siret Primary School, Tanzania

Alison Nicholls at Loibor Siret School, Tanzania          photos by African People & Wildlife Fund/Deirdre Leowinata

After the speech was the prize-giving, where children received gifts of books, pencils and protractor sets. I also gave 2 prizes of laminated copies of my paintings, for the best girl and boy in the art class the previous day. Then it was announced that there was a gift for me and I was dressed in my 4 shukas by 2 of the girls.
I’m so pleased to have a real Maasai outfit. Now I just need to start collecting the jewelry!

Learn more about the valuable work of the African People & Wildlife Fund on the Maasai Steppe in Tanzania.

Until next time…
Alison

Art Inspired by Africa and Conservation
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Shimmer and Shukas Field Sketch by Alison Nicholls

Shimmer and Shukas Field Sketch by Alison Nicholls

Shimmer & Shukas was painted during a day-long Maasai ceremony in Loibor Siret, northern Tanzania. The women were dazzling in their vibrant shukas, covered with beaded necklaces, headbands, earrings, arm & ankle bracelets. As usual, I started my sketch with a very light pencil drawing and then, a couple of hours later, while the ceremony continued around me, I added the watercolor.

The ceremony itself was for a group of moran (warriors), who were embarking on the long process of becoming elders. The men had just finished drinking calabashes of milk and a slight halt was called in the proceedings while the cows headed out to pasture. I had asked permission to sketch and saw this group of women nearby, so I began. Their beaded jewelry is mostly white, with areas of blue & yellow, while small metal disks on thin chains hang from almost every piece – hence the “shimmer” in the title of the sketch. Painting white beads and shiny metal disks on white paper can be a challenge, so I didn’t paint them, instead I painted around them, using the colors of the dark skin and bright shukas to define the jewelry.

So why was I sketching in a Maasai engang (homestead) in Tanzania? Because I was revisiting the African People & Wildlife Fund (APW), an organization I have been supporting for several years now. APW has created numerous positive benefits for communities on the Maasai Steppe. Local children have the opportunity to attend an environmental summercamp and receive a scholarship for high school education. Human-wildlife conflict has been reduced by the innovative Living Walls program. Women’s groups can apply for grants to start a small business. The community has asked APW for, and received, data and environmental education, allowing them to make good long-term decisions about their land and water use. APW’s impact has been possible due to the creation of a permanent base in the area and their close links with local communities, who provide the vast majority of their staff.

Perhaps the most wonderful thing for me, was to be remembered by some of these friendly and welcoming people from my previous visits. They encouraged me to sketch and were always interested in seeing my work. I will be sending copies of my sketches back to APW so they can be given to all the people who were in them. Next week I’ll show you video of my work at the Loibor Siret school, but in the meantime I’d like to thank Dr Laly Lichtenfeld and Charles Trout for inviting me to return to Noloholo, and all the APW staff, particularly Joyce Ndakaru, for their help and support. Asanteni sana!

Learn more about the valuable work of the African People & Wildlife Fund on the Maasai Steppe in Tanzania.

See more of my African Field Sketches.

Until next time…
Alison

Art Inspired by Africa and Conservation
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What did I do in Tanzania?  photo by African People & Wildlife Fund/Deirdre Leowinata

What did I do in Tanzania? photo by African People & Wildlife Fund/Deirdre Leowinata

Any guesses?
Yes, stencils were involved (hence the use of the question mark in this photo).

I just returned home from 10 more inspirational days with the African People & Wildlife Fund (APW), part of which was spent helping students from Loibor Siret Primary School stencil 2 of their classroom walls with letters, numbers and local animals. Here are a few photos showing the progress.

Painting in Tanzania  - photo by African People  Wildlife Fund/Deirdre Leowinata

Mixing the Undercoat Paint – photo by African People Wildlife Fund/Deirdre Leowinata

Painting in Tanzania - photo by African People  Wildlife Fund/Deirdre Leowinata

Taping the Edge of the Windows – photo by African People Wildlife Fund/Deirdre Leowinata

Painting in Tanzania - photo by African People  Wildlife Fund/Deirdre Leowinata

Painting the Undercoat – photo by African People Wildlife Fund/Deirdre Leowinata

Drawing Class -  photo by African People  Wildlife Fund/Deirdre Leowinata

A Drawing Class in one of the Stenciled Classrooms – photo by African People Wildlife Fund/Deirdre Leowinata

Drawing Class -  photo by African People  Wildlife Fund/Deirdre Leowinata

Me Pulling a Face. But Look How Good the Wall Behind Me Is! – Photo by African People Wildlife Fund/Deirdre Leowinata

It was wonderful to be back, to see familiar faces at APW, among the children, the teachers and in the village. We also painted one of the end walls of the school (visible to everyone who passes through Loibor Siret), held a Village Exhibit and I was thrilled to be asked to be the Guest of Honor at the closing of school. More photos, sketches & video about all of these events will be coming in the next few posts.

I arrived home exhausted after flying via Kilimanjaro, Dar es Salaam, Amsterdam, Boston & JFK (my bag deserted me between Boston & JFK but caught up with me the following day). And in the shower I finally managed to remove the last of the blue paint from under my fingernails. I was almost sorry to see it go. Almost!

Learn more about the valuable work of the African People & Wildlife Fund on the Maasai Steppe in Tanzania.

Until next time…
Alison

Art Inspired by Africa and Conservation
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APW Benefit 2014

Here I am at the African People & Wildlife Fund (APW) Spring Benefit at Baltusrol Golf Club in New Jersey, with Dr Laly Lichtenfeld of APW and Alison Jones of No Water No Life. This year’s event was even better then last year! We saw a great new video about APW, learned that there are now 350 Living Walls installed, heard about the 22 Noloholo Environmental Scholars receiving free secondary education in Arusha and discovered that APW has been invited to join the Clinton Global Initiative!

I’m proud to be associated with APW and was delighted that my painting, Lines of a Lioness (below), was sold during the silent auction with 50% of the sale proceeds benefitting the project. In addition, one of my limited edition giclées sold for twice its normal price in the auction and another 3 giclées were sold during the benefit, with a 30% donation to APW.

Lines of a Lioness acrylic by Alison Nicholls © 2103

Lines of a Lioness acrylic by Alison Nicholls © 2103

Please use the link below to find out more about APW, a very impressive project achieving significant results on the Maasai Steppe of northern Tanzania.

Learn more about APW.

Until next time…
Alison

Art Inspired by Africa and Conservation
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Elephant!, acrylic 20x30" by Alison Nicholls

Elephant!, acrylic 20×30″ by Alison Nicholls

Elephant!

Acrylic 20×30” by Alison Nicholls

Elephants provoke strong opinions. Tourists want to see them on safari and usually encounter calm, relaxed elephants in protected national parks, viewing them from the relative safety of a vehicle. However, rural-dwelling Africans are more likely to encounter elephants on foot, outside protected areas, in places and situations where elephants are more wary of, or aggressive towards, people. Children who have to pass elephant herds on their walk to school, or families whose crops are trampled and eaten by hungry elephants may feel fear and distrust rather than admiration and wonder when they see elephants.

Elephant! resulted from a conversation I had with Maasai men in Tanzania, while I visited the African People & Wildlife Fund (APW) for my 2nd Conservation Sketching Expedition. The men looked through my sketchbook, seeing sketches of people, cattle and homesteads, but their first question to me was ‘are you afraid of elephants?’. The question made me think more about their encounters with elephants and resulted in this painting, which illustrates two contrasting views. The large head on the left of center is an elephant cow, painted in a relaxed pose, with her long, gently curved trunk leading to smaller images of the herd and a safari vehicle containing tourists. The washes of color used on this side of the painting have soft edges and there is a circular flow, down the elephant’s trunk, around the herd and towards the vehicle. In contrast the large elephant head on the right is an agitated bull. His ears are raised and his trunk curled, while his upturned tusks point towards 2 more bulls in similar poses, and a man attempting to keep the elephants away from his maize crop and home. On this side of the painting there are stronger reds and hard-edged washes, while the smaller elephants are angular and facing opposite directions.

Many of Africa’s elephants live or spend time outside protected reserves, alongside a growing human population, and as competition increases between people and wildlife over access to natural resources, human-wildlife conflict increases too. It is African people who will ultimately decide the fate of Africa’s wildlife and determine whether to accept the hazards of living beside Earth’s largest land mammal, so finding solutions that allow people & wildlife to share natural resources amicably is a high priority. Part of APW’s mission statement is to “support the collective management of natural resources for the mutual benefit of people and wildlife” and with the majority of their staff being residents of the local area, they are well placed to assist the community with plans to alleviate poverty, conserve biodiversity and reduce human-wildlife conflict – outcomes which will benefit both people and elephants.

The original acrylic painting of Elephant! is available for sale, priced at US$3200. If it is sold privately I will donate 30% of the sale price to APW. If it sells during an exhibition where the venue collects a commission (usually between 10-40%), APW will still receive a minimum of 10%. Limited edition giclées are also available with a 20% donation to APW from the sale of each piece.

Learn more about the African People & Wildlife Fund.

See my Field Sketches from Tanzania.

Until next time…

Alison

Art Inspired by Africa and Conservation
A donation is made towards conservation in Africa from every sale
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