As a Southwest Virginia professional mural painter for over 40 years, I’m writing to share my perspective on the recent decision made by the Galax City Council members on June 8th to vote down the mural design presented by the directors of Galax Tourism and Downtown Galax Grows. The proposed design features large figures of four Old-Time/Bluegrass musicians representing a variety of ages and cultural heritage against a mountainous backdrop.
The primary opponent of the mural’s content, Councilman Shane Coomes, stated that the design “does not represent Galax whatsoever” and “That’s not musicians our town is known for.”
I take issue with Mr. Coomes’ stated reason for rejecting the mural design for several reasons. My experience in creating over 35 community murals, whether the community represented be a town, city, church, school or business, begins with interviewing and researching the longtime residents and historians of that community. It should be noted that residents of the Galax community were surveyed to help the artist finalists develop an appropriate design concept supported by community perspective. Apparently, Mr. Coomes’ opinion is at odds with a consensus of his constituents.
Secondly, I have tried over the years to make community murals serve as a vehicle for memory and historical record; I’ve learned that sometimes digging deeper into that record reveals forgotten or buried truths that should be brought to light in the mural for raising the awareness and pride of all community viewers. In the case of the Galax proposed design, it should be noted that the origins of most traditional musical instruments are rooted in past cultures, even ancient ones, that came to America by way of migrants and enslaved people. That’s particularly true of the banjo, represented in the proposed design. Thousands of years ago, West Africans musicians fashioned gourd-based instruments that became the predecessor of what we call the banjo today, brought to America and the Caribbean by enslaved Africans and Jamaicans. As for the fiddle, Thomas Jefferson learned to play it from his enslaved Africans, as did many slave masters or their overseers throughout Virginia. Shouldn’t those deeper origins and players of old-time instruments be celebrated by a portrayal of diverse contemporary musicians?
Lastly, and most importantly, I believe community murals should not only celebrate pride in the past, but express vision for a better future, inspiring young people to act on their interests and beliefs. And with the advent of the Youth Competition at the Galax Old Fiddlers Convention, young people of color are showing up in predominantly white bands to perform with their bandmates. Additionally, murals have enjoyed a bit of a renaissance in downtown spaces as a draw for tourism and community pride. With Galax’s Old Fiddlers’ Convention drawing crowds of thousands from all over the nation, and even the world, during the course of its 90-year existence, shouldn’t a downtown Galax mural welcome and celebrate people of diverse ages, cultures and origins?
Ellen Elmes is an artist who has painted murals across walls in Florida, Maryland, Pennsylvania, Tennessee, Virginia, West Virginia, and Scotland. Most recently, she and her husband, Don, permanently installed an outdoor mural on fabric, “Beloved Community: Northside and East End, Bluefield, West Virginia.” Elmes is retired from 20 years of teaching art at Southwest Virginia Community College. Her book, “Appalachian Labyrinth: Painting to the Center,” is a memoir of her journey as a rural artist. She lives in Tazewell County.
