1 10 1 https://archivesoralhistories.csusm.edu/files/original/650df26fcebb5e908a3a6386a0e71713.pdf 91b6788af9d667a1f9d0118bd55f634c PDF Text Text TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 Transcript Linda Kallas: Today is October 31, 2022. I am Linda Kallas, and I am interviewing Joanne Tawfilis as part of the North County Oral History Initiative. Thank you for joining me today, Joanne. Joanne Tawfilis: Thank you, Linda. Glad to be here. Kallas: It’s my pleasure. I’m going to give you some questions, and you’re going to answer them and to the best of your ability and we’ll just keep moving through the questions. Okay? Tawfilis: Okay, sounds good. Kallas: First of all, when and where were you born? Tawfilis: I was born in New London, Connecticut, and, um, a long time ago, [laughs] almost seventy-seven years. Kallas: And was your family an active part of any cultural communities where you grew up? Tawfilis: Actually, my family was one of the first Filipino American families in the town that I was born in. Um, we had a huge family, and then another family came and there was sort of a competition between the two families on, I think, who could have the most kids. Kallas: Oh! [chuckles] Tawfilis: And I think my dad won! [both Joanne and Linda laugh] Kallas: Um, so you didn’t grow up in North County. You moved here how many years ago? Tawfilis: Oh, it was—I moved here probably, um, in 1971, was when I first came to California. But then with my career I traveled all over the world, so I was back and forth on a regular basis. Uh, I had children and grandchildren here, and when I retired in the year 2000, I decided to settle here in paradise. [nods] Kallas: Nice. And how do you like living and working here since then? Tawfilis: Oh, I love San Diego County. Out of all the places I’ve ever been, I think that what I— I love the weather like everybody else, but it’s very multicultural, and, uh, makes life interesting that way. And grandchildren will always keep you where you are going to retire. Kallas: Um, do you feel like you’re part of the community? And do you have a support network? Tawfilis: I feel very much part of the community in many ways, but on―in some ways, no, because we’re—we’ve kind of discombobulated in this county where North County is kind of separated. But, I—my community is global, so it makes it a little bit interesting for me to try to be part of this community, despite the fact that I am, uh, running a multicultural center. Oceanside seems to be very focused on downtown and tourism, and, uh, I wanted to be here, even when I was downtown when we had our, um—it’s our studio and our center and our 1 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 museum, the first mural museum in the world in Artists’ Alley. I—I thought we were really integrated into the community, but when—when I had to move out and come down here, it’s been a little different because we’re—we’re—we’re not considered you know neighborly, I think, is my—my feeling. We—we—we’re here. I love being part of being imbedded into the community, especially the indigenous community, because the Center was supposed to be focused on multiculturalism, with the focus on indigenous people. Kallas: Um, so prior to doing what you do now at the Mural Museum and the Art Miles, you had another whole career. Can you talk a little bit about that? Tawfilis: Yeah. I started out doing illustration work with the U.S. government, and when computers came out, they scared the heck out of me, being a non-technical person and being kind of a—I think, at that time, a very snobby artist [laughs], and then when people tell you what they want painted on, or drawn with specific directions, I had to question “Why, then, do you need me, if you’re not going to use my creative brain.” And the computer-generated art didn’t appeal to me because of that. Although now it’s grown into such a great variety of software programs, you can do almost anything, even with your own art. But as a young artist, I didn’t see it that way. So I worked for the military for most of my career in civil service, and then later on, combined my civil service career with the United Nations, and got to travel, a lot! Kallas: Um, so, some of the work—you want to talk about some of the work you did for the military, Civil Service department? Tawfilis: Yeah. After doing illustration, um, at the Submarine School in Connecticut, where we—where I was born, and my ex-husband was military, we traveled and that’s how I came— came to California. Um, and I worked really hard doing graphics here. Um, I rose in my career there to, to when the Bicentennial happened in, uh, 1975–76, the Navy and the country’s Bicentennial, and I got a little bit famous because I coordinated the whole military celebration down at the Broadway Pier, and things like that. And, then when, uh, uh, I went as far as I could, as far as a illustrator, was go—was my part of my career, and they started to do more and more graphics. I mean I worked at every military base in San Diego that you could think of. Kallas: Oh. Tawfilis: And then an opportunity came to become, uh, the first civilian and woman to be a, an international military training coordinator, and that’s how I got really involved with the international work, because the job was to be like a cultural, um, leader for the military people that came and their families, and setting up Friendship programs, and ex—not exchange programs, because these were, these were guys that were being trained on the equipment in the ships that we sold as part of the―what they call an international military exchange training program, I met and several others. So, I worked through all the bases doing that, and really loved, um, starting programs for the military and introducing them to American culture. And that was my real first experience, and getting international people to know the native cultures. And I did a lot of—I spent a lot of time down in San Diego, and Chicano Park, and I used to have the military, even the officers, lay down in the, the big, uh, like a pagoda―I’ve forgotten what you 2 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 call it [chuckles], I think this is my senior moment―um, and look up to see the Inca and the Maya—Mayan civilization paintings, ‘cuz that’s where Chicano Park is sort of visualized and painted in amazing murals. And I did part of that on the bridge, the bridge stanchions that show how the Mexicans and the Spaniards came, and the farm workers came. And that was a lot of indigenous peoples from Mexico. And that got me interested. And then coming from Connecticut and New England where we had a lot of Native American tribes, a lot of international people ask about what happened to all the Indians in American culture? And a lot of—back then, a lot of international people only knew about cowboys and Indians, like most of us when we were growing up, you know, decades ago. And it also—it was very interesting to me because my minor in college was Native American Studies. Kallas: Oh. Tawfilis: And that’s how I got introduced to it. But, you know, it was something that you think of academically, although it struck my heart because I was really angry at our educational system for not letting me know, among others, that where I grew up and lived most of my, you know, young adult life prior to college was Indian country. I mean, one of the thirteen colonies. And people don’t realize what kind of impact that had, has on people when you’re growing up. So, that affected my, my heart always. So, when I—in my career, I’ve always had that as a, I want to say, a big influence on what I’ve done to, to teach international people when I travel, both with the military and with the U.N. Kallas: Now, did the military send you to other countries as well? Tawfilis: Oh, yeah. I ended up—I started out doing, like I said, the international training stuff, but then I was on the base closure team, where my career went way up as far as getting higher promotions and better pay, and stuff like that. So I ended up, after doing base closures in most of the San Francisco Bay and Hawaii area, my territory was, I was one of twelve people that did the base closure studies. And then I had an opportunity—kind of as a fluke—to apply for an international job with the Army, and my supervisor and I both did it, um, as a—I don’t know, we just got a, a bug to say, “Oh, let’s see what happens if we apply to do what we’re doing here in the States, doing base closures.” And so, they offered her a job, and she turned it down. And they said “Oh well, the next person on the list is right in your office. Can we talk to her?” That was me! And so I ended up going to Germany. At the time I had been working for the Navy for over twenty years, in different positions like I said, from illustrator to management analyst, and working at foreign training and base closures. So then I ended up going to the Army in Germany, and that was, uh, right after, um, the Bicentennial had ended, and then I did a stint with—I took some time, and got, went on loan as a Vista volunteer, and went up to the Nespelem reservation in Colville, Kettle Falls area of Washington. I got really lucky cuz’ my hero was Chief Joseph [chuckles] and so I worked on that reservation in a parent aid program. But that’s another whole thing that maybe we could talk about later. Because going back to the military, I did this closing the bases in Europe and I became one of the heads of the base closure team there, and that’s how I got to travel to just about every European country there was. And, um, from there, I got recruited by the state department and through my federal military civilian job, went to work for the United Nations in, in Austria after the base closure job in Germany, that I went onward to, 3 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 um, working on loan again. I went on loan from the Navy to the Army, from the Army to the International Atomic Energy Agency, and on loan again to the United Nations Environment Program in Nairobi. I mean there were jobs in between, but, and like I say that the stint I did at— I got to continue my career, even though I stopped working for the military for two years to work on, um, the Vista volunteer program. When Shriv—Sergeant Shriver started the Peace Corps, he also started the Vista volunteer program, which is now, I think, Americorps. So I was in that first round. Kallas: Mm-hmm. Tawfilis: And then I went back to civil service and continued on, and onward to U.N. Kallas: And did they send you to, um, war torn countries, and where there was a lot of political unrest— Tawfilis: Oh, yeah. Kallas: —as a representative? TAWFILIS: Yeah. When I went to, um—well, I could say my first stint overseas in Germany with the Army was when the wall came down. And I had just adopted two more children, and uh, I remember during that time the―when the wall came down, my kids were like, like—they were adopted from Mexico, and then—but they were Americans in a sense, so they were Mexican descent. And it was really interesting for them to learn German, so you see two little Mexicans speaking in German [chuckles]. It was kind of cool. And, um, but the war torn part of it was―my job was because the war was over, the Cold War, and the wall came down, the government decided that’s why they wanted to close the bases because they didn’t need that anymore. We had so much military might invested in Germany because that was the actual front, that it made my job easy because the, the common sense of the economic support that they did for Europe, um, on the, well, it was called the front, made sense to start closing the bases. And so, I became a superstar, doing that, because I had people skills, so the generals that I worked for decided that it was great to have a woman civilian go give the commanding officers of the base the good news and the bad news that their base was going to be closed. And as a result of that, I was one of four women chosen to be, um, a member or take part in a study to decide whether civilians should become executive officers of military bases. So, they sent us to Army Management Staff College, and I was one of the four women that attended that. And so, the idea would be that I would become an executive officer of a military base so they could station military in the field. The problem with that is there’s no military that’s going to listen to a civilian as a boss. So, you can ask my son-in-law about that, ‘cuz he was Army. In fact, my daughter met him there in Germany. But, yeah, that was one. And then with the U.N., when I went to Africa, there’s all kinds of―I want to say―conflicts going on, including Somalia, Rwanda, during all that time, and so, yeah, I saw a lot. In fact, I was car-napped and my own personal safety was in danger there, not only from being exposed to so many people that were dying of AIDS, but because of the tribal—there’s like forty tribes in Nairobi alone and there were conflicts and a lot of cultural differences between the tribal people and a lot of, um, little―I want to say―mini wars going on 4 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 and the political strife, and then of course, it was pretty bloody with Rwanda and then Somalia in that area. But I got to travel all over Africa, looking at—my job there was to consolidate the U.N. organizations in Nairobi and the base was called Gigiri, and, um, I got in trouble there, because I tried to support the local indigenous people with the financial area. So, if you want to talk about wars, and danger, and stuff like that, I think people think of shooting, you know, and bombs and stuff. But there’s other kind of wars, like economic ones. And I came up with this idea that civil service employees in international organizations should be cay—should be paid equally. But they have this system in the U.N. where local nationals are―have to go through a wage classification survey and they get the prevailing wage rate, whatever that country is. So, in other words, my secretary in Austria would get $3,000 a month, but my secretary in Nairobi would get $300 dollars a month. Kallas: Oh... Tawfilis: Yeah. And I just didn’t think that made sense, working with the U.N. So, it was kind of a battle there, and I think that was the biggest war for me, is trying to help the local nationals. And I did some―I want to say―out of the ordinary things, like promoting them when other people went out on mission they would hire people to come in and pay them exorbitant amounts of money, including me, because I, I was on a stipend on a daily basis, in addition to my very high salary. But the work was done by the local people. I think that happens everywhere, that the real worker bees don’t get recognized for the, all the work that they do, and they carry on the mission of whatever that country’s, you know, objectives are. And so, I think that’s one of the reasons I got car-napped, because I had a big mouth and I actually wrote a book about how to flatten the United Nations. So, they sent me back. I was on loan from the International Atomic Energy Agency in Vienna, Austria to Africa, and because I tried to help the local people, I think I wasn’t going to go much further, after ten years, you know, working for the U.N. So, that was my personal battle when you talk about wars, and dangerous things. I mean, when you get to the point where they don’t want you to talk―and it wasn’t the U.N. that did it―it was a person that probably wanted the job that I had―that arranged for this kidnapping or car-napping that I survived. So… Kallas: So, you also, um, had spent time in Bosnia during that— Tawfilis: Yeah, at the end of my career— Kallas: —that was after all the— Tawfilis: with—I was getting ready to retire and, uh, because I was on loan as a very highranked civilian, the only place they could put me would be the Pentagon in Washington, D.C. and I didn’t want to move to Washington, D.C. I’d been at the headquarters many times with my job with the Army. I did a lot of stuff for the Army, like I said. And I really didn’t want to move to Washington, D.C. So, they gave me a choice of going to Bosnia and working with the widows at Srebrenica, at the end of the conflict in the Balkans between the―where Yugoslavia had broken up. And I went on an interview sponsored by the Clinton Foundation to be the Director of the Bosnian Women’s Initiative or what they—most people know as the Widows of Srebrenica, 5 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 where at some point they gathered the Bosnian women together―and I should say the Bosnian families together―in their village called Srebrenica which was a safe haven. And unfortunately it wasn’t a very well protected safe haven, and on July tenth and eleventh in 197―uh, 1995, the Serbs came in and gave the people ten minutes to come outside, and they put the women on one side of the street, women and children under fourteen and old people, real old people, and then they put the men and boys on the other side and then they took all the women, put them on buses and sent them to a village in the mountains, in Tuzla. And the men disappeared. They found some mass graves. They found some bodies in a forest where they were―tried to run away, I guess, some of the men. And, but they never found the whole―I would say, whole group of the over six to seven thousand. They, they suspect―there’s a lot of theories, and a lot of books written about it. But my job was to work with the women and help them do economic development and to heal and to also help identify bodies and get all their data because they had no pictures of their families. They had, you know, all this stuff that they—they left with nothing. And then to try to help reconciliation between the three entities, and I ended up, you know, working my, my heart and my head off, because working with people who have lost everything and witnessed the destruction of their country and their families getting killed and murdered and their men disappearing, and these were mostly farm women that didn’t even know how to write their name. So, I think I worked harder in my life those three or four years that I was there doing everything from gathering information to help put the war crimes together because these people were still on the loose. And then throughout the years, the military would find them and capture the war crime perpetrators and bring them to the Hague and they were imprisoned, and some of them—I won’t name names—passed away in prison before they could be tried. But it was terrible trying to identify remains with the women. Maybe it would be just shreds of a shirt but they recognized their husbands. And then having all that emotional—I think I have a whole book of stories I could write about their suffering. Kallas: Mm-hmm. Tawfilis: But because of that, I was encouraged to go work in the orphanage and there three hundred fifty orphans. I have a TED talk online, TED-X from Orange Coast College. And, it was―it’s called “Painting Outside the Lines.” I also have one from UCSD “Stem to Steam” because I put the art part in there. But back to the Bosnian situation and I guess as the point of my career that changed my life that we were going to talk about, because when I saw what the children had gone through and I―they―they told me—you were getting— I was getting very depressed, and they said “you need to go work in this orphanage.” So, the three hundred fifty orphans from all three entities, but they had not found or located all families. So, some of the kids had no survivors. I understand that most of them they were able to place them years later. But while I was there, my―my, uh, free time, if you want to call it free time, was to go and work with these kids to do art. And then after about three months of just sketching and coloring and stuff, they asked if they could make a very big painting and I interpreted that as a mural. And so if you―you’ll hear on the TED talk, how we found bed sheets in a closet that were full of sort of darned holes and the―they explained to me that the young ladies in Europe learn how to sew, which we did away with here in the United States. But there they sew everything. So, when they 6 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 pulled out the sheets, and they had all these little stitches, and some still had holes, I, when I asked them what the holes were about, they said “Well, this used to be a hospital, and it was bombed. So these were from the shells and the shrapnel that, that, you know, made holes in the walls and the bedding and the whole bit of the ugly hospital beds over there.” So, what I did was the Army had left a 10-gallon pan―pail of white flat, white wall paint and I, I had them sew two sheets together and I put masking tape on the back where I thought there were the least amount of holes and then I just painted. I put a whole bunch of newspaper, and in the morning it turned into a very stiff canvas! So, we had a canvas and the kids got very excited. Every time I think about their faces when they saw that, and then it was like “Oh, we’ve got to paint that whole thing?” You know… Kallas: So, that’s when your two careers intersected, so you kind of went back to—. Tawfilis: Right. Kallas: roots, and— TAWFILIS: And I got to do art, right? So, but what changed my life were the, the children and the oldest one was about eighteen and then they had a little eighteen or nineteen-month-old baby in there, and they divided the kids up into groups of five. And they took two older, mostly teens, and then three younger kids, so they could take care of each other, ‘cuz they only had five people running this whole orphanage. There was psychologist, and then the other four were caregivers, and they cooked for them, and made sure that they were, you know, trying to keep them busy. There were—I don’t even think they had formal education for them, because there was nothing. And they were just being protected and fed, and trying—and I think doing the art was a real important thing in their lives. So, how my life changed was, the kids started—I said “you have to decide what you want to paint.” So, what they—I had them do, is I said “Draw something that you want on this canvas.” So, they all did it, and I still have some of the sketches. I should have brought some. But they, they, they had to come up with an idea that would go on the canvas. So, we looked at all the drawings and they started forming this dialogue and they started talking to each other. And you have to understand these kids were very depressed themselves, and they had these real— Kallas: Traumatized. Tawfilis: Yeah. They were all traumatized and they were kind of afraid of each other when they were—they knew that one was a Serb, and one was a Croat, and one was Bosnian. And they didn’t―they matched them up by age, not so much by what sect of religion they belonged to. So, and in children weren’t so attuned, maybe the older ones were a little bit more conscious of their religious differences, whatever. But in the discussions that they were doing, they started talking about the trauma that they had gone through. And some of the kids knew each other from the different villages that they had come from. And I found myself going outside, crying myself, because they started talking about what they saw, what they felt. And even now, when I think about it, it’s still—it burns a hole in your heart, but it—I wondered how this was going to work. And I’d go back in, and then they decided on a theme. And what was happening is they were going through a catharsis themselves, and they ended up with coming up with the theme 7 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 “Yesterday and Tomorrow.” And the Yesterday section of this one―I guess we would call it a triptych in our art language, Yesterday, they did sketches of houses that had no roofs, ‘cuz they’d blown up. Airplanes dropping bombs, and then because the women were wearing kerchiefs because they were Bosnian Muslim, they had their heads covered. There, a lot of the little drawings had little pictures of women lined up, going, and they remembered having to come out of the houses in Srebrenica and line up on the other side of the street. So you saw―you would see sketches of that, and dragons, and just ugly things that they, fires, things burning. And then the middle section where they had put the groups of five together, they drew their little new families, which was really cute. Kallas: That’s awesome. TAWFILIS: And then on the third panel was, were flowers and clowns and balloons and stuff like that. So they called it “Yesterday, Today, and Tomorrow.” So after five days of going through that, I can say that was a life changer for me, and, and I was telling my husband about it, and we, we made that first mural, and he was in the process of constructing a new building, me, a gallery, and we called it Avenida de Los Artistas. So, we had a Spanish name in a German country, speaking country in Austria. We started, he started doing murals, or I started it on the wall, one of the walls of the museum that was being built, at the gallery. So, when I’d go back home, we were making murals, and after about a hundred of them we said “we should make this a project.” Because the latch kids would be coming, then the schools started sending kids over. So we turned it into a project, and actually Foulad, my husband, was the man who came up with the idea of calling it “Art Mile.” We didn’t know it was going to turn into twelve miles! But that’s how it started. And then at one point I met a professor from Wesleyan University, and I did some murals. The very first mural we did outside of Bosnia was in Austria. And then on one of my trips back to Connecticut, I met this professor from Wesleyan, and we did one at the university there. And he said “You need to tell the U.N. about your project.” And, so, there are lots of things going on, wars, conflicts all over. And so the United Nations had set up a program called the International Decade for the Culture of Peace. And it was founded by Ambassador Chaudry of the U.N. who was at the time Under Secretary General for small developing nations and island nations. And he had written the resolution to start this International Decade from 2001 to the end of 2010. And so my husband and I had this crazy idea of going to New York and getting him to support it as a U.N. project. And at the same time, the son, the grandson of Jacques Cousteau heard about us, and said “I’d love to see what you’re doing. Maybe you should do murals about the sea.” So he flew from London and met us at the famous hotel in New York, and I was, while I was there to meet Ambassador Chaudry and said he would love to see us do murals about the oceans and the sea and the water. And at that time he was at grad school, I believe. And so our very first celebrity fan was Phillipe Cousteau, the son of Phillipe Cousteau, who passed away in a plane crash. He was one of the two sons of Jacques Cousteau. So we went on to the U.N. and just unrolled five canvases, one of them was done in Nairobi, and it went all the way down the hallway, cuz they were five feet by twelve feet, so we had almost fifty feet of canvas going down the hallway and Ambassador Chaudry’s office took up a whole floor of People in the U.N. building and they all came and looked at it and they all fell in love with the project. And that’s when we got his support and endorsement, and we started doing murals. And 8 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 now we’ve got over twelve miles of murals from all over the world, which many of them are right here in this building. And our headquarters is in North County and Oceanside. Kallas: And that is called? Tawfilis: The Muramid Arts and Cultural Center. We had it set up as the first mural museum in the world, and for people who don’t know the word “Muramid” comes from murals that were being constructed into a pyramid which we had set up a project. My husband came up with the design and he did the photography of over a thousand murals and did them in miniature because we were going to create the Muramid Pyramid at the great Pyramids in Giza. And at the time, we had also, I had retired. We had moved to Egypt. We have a home there. And my husband spent a lot of time and a lot of money. What we called Back Cheese, with the paying under the table to the Minister of Education, Minister of Culture, to do a fourth pyramid to be constructed with piping, I don’t know if they call it, it wasn’t the PPV―PVC piping, it was metal. And he designed that. And then a company here in Oceanside―not Oceanside,―in Irvine, “Supercolor Photo,” were kind enough to make the model and take my husband’s design of the miniature murals and make a cover. And we were able to have a ten-foot model that we were going, we used in several places. In fact, we have ten models all over the world right now, including Japan. And we participated in international conferences and things like that. And the whole idea was to have, to have [someone enters the room, off camera] I thought I locked the door, sorry. Anyway, the whole idea was at the end of 2010 we would have this celebration to commemorate the closing of the International Decade for the Culture of Peace. And then, what happened was, because we had so many conflicts we ended up with a second decade, which ended at the end of 2021. Kallas: Now all of your—you have twelve themes for your Art Miles. Tawfilis: Mm-hmm. Kallas: Can you share a little bit about that, and what, what people gained from doing these murals? Tawfilis: Sure. The first thing that we did was Peace, Unity, and Healing. And then we ended up with the Women, because the women’s influence on art and healing. That’s where the healing part came in. And you know when you think about peace, unity, and healing, then you talk about women and their role in it. And then we started environment, because everybody started complaining, and worrying about climate change. And as you know, that has a subject that has increased so many, so much all over the world. And it’s happening. We’re all experiencing that. And then we started doing murals in response to every human and natural disaster. That’s even when 9/11 happened in 2001, it was a big deal and we did, like, many murals and actually exhibited some of them on, at Ground Zero. We were there, doing the mural, at Georgetown University on September 11. And we got sequestered into the hotel that we were staying at, because we were doing a Children’s Environmental Health Network thing. But anyway, back to the themes, so that’s how the environment started. We, the third one was Children’s Environmental Health Network where they actually did a film about us there. And while we were doing that, we ended up being, watching the Twin Towers come down. And then from there we 9 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 started Children’s and then Fairytale and then Sports and Music, and so now we have Hero and we had—then we started the Japanese government, or I should say our Japanese team started doing an exchange program. They called it, they call it the International Intercultural Mural Exchange where they do half of a mural in Japan and the other half in another country, with another school. So, there’s four hundred forty murals for each themed. They’re all, not all five by twelve, some of them are half sized. But our goal was to at least get to twelve miles, and then in 2008 we attempted to break the Guinness Book of World Records. But three weeks before that, we found out that the United Arab Emirates had already done that with the longest mural in the world. And we couldn’t surpass it, because they, they would, they did like ten-mile, not ten miles, ten murals more than us. But, even the, the grand master, whatever they call them, that comes to do the, to officiate measurements stuff, said ours weren’t connected, and they want a continuous theme. So, what the, what happened with the United Arab Emirates, they did, they did, I think at that time, like four miles, about women, and it was done for International Women’s Day and they featured the, all the children. And all the schools did murals about the sheikah, or the queen, I guess. And then they had to burn it, because it was done on paper, and Islam doesn’t allow images. So, but they did break the record. Plus, it cost ten thousand dollars to bring the guy over, and we didn’t have that kind of money. We still don’t have that kind of money, because we do it all from our hearts, very few donations. Kallas: And can you talk a little bit of how the initial concept of murals has evolved over the years, compared to where you started in Bosnia, and to where you are right now with the murals. Tawfilis: Yeah. I think the biggest change is education. We found that education has come to the forefront because whenever, whatever thing you’re working on, it teaches you something, you know, whether it’s fairy tales that are originally thought of by children and from their imaginations or sports. There are―you learn what the sport’s all about. Music, the same thing. We’ve even had music murals created while people are looking at a mural and they write music about it. And then, or vice versa. Or when it’s in the indigenous mile. At one time we presented a—because I was in Connecticut at the time, we had someone present the idea of doing—we discovered there were five hundred fifty recognized tribes. And so they did a resolution at the National Congress of American Indians, NCAI, that each tribe would contribute a mural. But we got so busy, and then my husband passed away. We have never followed up on that. I don’t know how long those resolutions last. But I would love to revive it. But since that time, I’ve also discovered there’s a whole bunch of non-recognized tribes. And I think that has appealed to me more, because I feel like, how could you not recognize a tribe? I don’t care. I know that there, their requirements have DNA and numbers of members and whether they have a reservation or whatever. But, it’s not accounting, some of the tribes don’t get credit for just being there, and being there first. And they were decimated by whatever colonial tribe or―how would I say―shouldn’t be―that’s the wrong word―colonial influence that came in and took over those lands, even in our own wars, in the Civil War. Even before that, they, you know, the genocide of Native Americans is something that most Americans don’t even know about. They don’t even know about there’s so many tribes in every country that they went through the same thing. You know, the genocide of every African nation. There’s thirty-three countries in Africa! And most Americans don’t know that. There―you could go there, and you could say “The Dutch took over 10 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 this country. The Italians did this country. The Brits did this.” You know. And they left their influence, but they also started slavery, and brought it here. And then―and I think that’s why there is a bond between a lot of Native Americans. When you―one thing I’ve even discovered more of later in my life is how Native Americans helped so many slaves, you know, following the Civil War. Protected them, and hid them, and intermarried, and that’s why there’s a lot of controversy among white people about―they had this concept the Indians were “red.” First of all, I don’t think I’ve ever seen a red person, or a yellow Chinese person, or maybe caramel, like me. [both she and Linda chuckle] And when you think of black, kids in school when you say “These are Africans.” They use black crayons or black paint. There are some very black people, I think. Some countries have all shades. India has black India people from East India. And Senegal people mostly are darker than most, you know. But there’s also a whole shades, hues of people. But like Aki, our drummer, says “Inside we all have red blood. We all have bones.” You know, and when we all die, you can’t tell, maybe by the―anthropologists will tell you about the skulls and the framework and stuff like that. But color? No. Religion, you know, that’s another thing. So, the other—to get back to your question. The other evolution has been healing. I think the focus now is more on healing, because we have so much―what’s the word―conflicts around the world. And then personal violence going on with school shootings and the massive massacres with massive killings all over and accidents and natural disasters, with hurricanes and floods. Right here in California, the fires, right here! They came right up to the back door here, you know. And if you drive up through the mountains going to, to go buy a pie, you’re going to find out. You drive through all the reservation areas and you see where the fires from the past―you see those still the black, some of the trees, and there’s a big contrast with the silhouettes of those trees and then the―now the overgrown greenery. It’s so beautiful, and you know, things like that. So, healing has made a big difference, because when people―and what I’m really, I think, what I’d like to share in this interview with you―is that healing isn’t just the murals that we send to the people who have been become victims and their families of those who were killed or injured in these horrible violent events or disasters. It’s us, ourselves. When each school shooting happens, how many parents and people with a heart feel that pain, of, of—I can’t—every time I hear of a school shooting, I think of those poor little kids, and I grieve for them and for their families and for the friends and the neighbors that were there. And my first exposure to that was actually the, the widows watching those children, and then 9/11 when the Red Cross had murals being done all over. We have some amazing murals that came from all over the country and the world, displaying their feelings. And one of them, one of the ones that stands out in my mind, is Hope, Alaska did one. And it, the whole mural is the word “Hope” but inside the word “Hope” they drew people, and a lot of native and indigenous people are in that. And then, when Sandy Hook happened from my, where I’m from, Connecticut, I went there, and to see those little children, you know. How can anybody go in and kill all those little tiny kindergarten kids, and the teachers? And then what people don’t know there’s, in America, there’s a place called Besan, near Russia, where the radicals, and the— Kallas: Government was involved in―. 11 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 Tawfilis: Yeah, over two hundred people, two hundred kids and teachers killed. And then again, recently, you know, I mean we could go on and on. And every time we did a mural, it was like once or twice a year, and now, I mean, I think in July we had three shootings, and, you know, things we had to respond to. And actually, I’m behind! We haven’t been able to do, Massa from the, Mahsa Imani―Amini, from the―from Iran, because we’re so busy. We just finished Ukraine, you know. There’s just, St. Louis. All this stuff keeps happening. So, healing! Kallas: So, part of your process in dealing with this tragedy is there’s a healing element for you to respond to those through a mural. And you send those murals to those places, correct? Tawfilis: Yeah. And we’ve been lucky. Sometimes we hear back, and sometimes we don’t. Because you can’t expect everybody, every city and town, to say “Oh, gosh, all these people.” You know, people send food and clothing. And a lot of people do art and murals and flowers and, and stuff like that. So, I know, you know, part of giving, what people don’t understand is we give and we do murals from our heart. We don’t expect a lot in return. What I expect is when people paint a mural to send that they are sharing that same emotion that I feel that they want people to know that we’re thinking of them, and that we’re sending our prayers and good wishes. I know people think that a lot of non-governmental organizations do things for money. Well, we’re, we’re a great example of “No” [laughs], because― Kallas: Non-profit. Tawfilis: Yeah, we are a true non-profit. And my husband and I and a lot of people have contributed. We don’t have an overhead staff that we, we pay for. We can’t. We just don’t, you know. Thank goodness we have good―there’s so many―I focus on the good people and the good things that come. If I started thinking about what I have or what I don’t, you know, what I don’t have, with other organizations that get grants, and they have sponsors and philanthropists look at them, I would never be able to do what I do. At this age, I’m just now starting―we have a Foundation that we’re working on, and my goal is to finally, if I realize it, if I want to have a legacy in the name, in the memory of my husband who gave up his career, and out of my true care and I say, I want to say concern for people who are suffering, and indigenous people, I think that’s why I want it here. That’s what brought my here. I think the Creator, whoever your Creator is, my Creator is a number of spiritual things, that I saw this place that we’re sitting in right now before we opened the Muramid and Artists Alley. And my husband said “It’s too small. It looks like a house!” And it was full of crazy stuff that had been here before. So, it was neglected and smelly. It didn’t have high ceilings when we peeked in the windows, and he, he just kind of passed it on. But, something called out to me in this place. And I remember driving around one day after I knew I had to leave Artists Alley, because he passed away. I hadn’t, didn’t have the infrastructure and the help that I do now with Aki and his drumming and neighbors and friends and people that have helped put this thing together. I remember driving around and it still had a For Rent style on here―sign―and I parked the car and I called the guy and the property manager. And it was still in the same shape that it had been, I guess, six years before. So, this place had been empty for a while. I think maybe something might have happened in between, but I doubt it, because judging from when we did get inside, and there was a lot of feces, dead animals, all 12 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 kinds of stuff. But I can feel this place. When we took down the ceiling, because it was that―what do they call it―insulation hanging down, and I looked at the wood, and I realized “Wow, this place was here a long time ago.” I didn’t know the history of the place, but I’ve been told it was the original general store for the Mission. Kallas: Oh. Tawfilis: And then when I found out about the Mission and, you know, being a Catholic, in a former life, I thought “Wow, this is pretty cool!” Then I remember reading, like other things in Connecticut, that there were people here before the Mission came, and I got really passionate about “I’m going to put it right there.” And I want to dedicate the place to the Luiseño, because I found out that they are the people that this belongs to. And everybody that comes in the door, every single person, I can’t think of one that hasn’t come in the door for the first time and goes “Wow! This place, it has such great karma. It feels warm and friendly, and it’s inviting and it’s good to be in here and it’s so creative.” And I went [claps her hands together] “Yes! That’s what we’re all about.” And so, I think we are an important piece of the history of this place because I feel like an archive in here, of some sort. And the Mural Project has found its home, and I think that’s an important part of being the history up here in the North County, to have a project that’s global in scope that has been participated in by over a half a million people from over a hundred countries. To land in a place that is based on what everybody should know about indigenous communities. My hope is that―and I started out with my husband and I both said, you know, before we wanted to feature different cultures, because we felt that Americans weren’t quite educated enough to understand the diversity and the richness of cultures from other people, and other countries, including this country, you know. There’s so many―and I don’t want to use the term “white”―but there’s a lot of American, white people who don’t understand that they came here from other countries as well. And in their own country, if they look back in their roots, they’ll find out that they come in different shades as well. Kallas: Mm-hmm. Tawfilis: And that the stolen land―you know, recently I watched a documentary about Alabama where the last slave ship came in and it was against the law to even bring slaves after 1860 or something like that. But it was one ship’s captain who said “I can show you how to do it, and I’m going to prove it.” And he did it out of rebellion and brought a hundred and twenty slaves from Africa, made them get off the ship, near Mobile, Alabama, and in the water, the swamp, they got on to the land. I understand they stayed there for a few weeks and then they divided them into three different plantations. But they burned that ship in that. They said they wanted to get rid of the evidence. Well, that was a genocide in and off itself, of history. And now after four hundred years or whatever, they’re finding all these remnants. You can go anywhere, even here. When we started doing the back, we found a cross in the yard that, that must have been buried in the ground from whatever was here before. And I always wondered what happened and what’s going on with all this gentrification and the new building over there. It hurts my heart. And I talked to a Luiseño member who is one of our drummers, a woman, she said “every time she goes by” and she’s a school bus driver, she said “it hurts my heart.” Because she knows there’s another thing 13 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 covering it up and erasing part of the history of this place. And I’m really sorry that, you know, recently the newspaper said “the wave just got approved with the valley over there, and the rest of the valley. And I live in a place that I look at that, and I, I could cry just thinking about it. Right across the street from Pablo Tac Elementary School. They’re going to build a wave park like we need one so close to the ocean? I mean, come on. Commercialization is just really destroying the natural history of many places including right here where we live. So, I’m hoping that the owner of the properties here will never let this place become that wave even though I can see a beautiful little old town here. You know, I like to see more cultural things happen here. And I’d love to see the cultural district expand from downtown to where the real history is here. I mean, uh, it’s to me almost sinful that we don’t put more emphasis on what the history of this area, of Oceanside, is all about. It’s all on the front, at the waterfront. It’s all commercial. They even destroyed the waterfront in my eyes, by putting all that, the hotels and stuff. Kallas: Well, in trying to put it all together here, in breadth and in depth is community building. Tawfilis: Correct. Kallas: Through the murals, through the other work you’ve done. It seems to be the main theme of your life, and now you have the Center. And doesn’t it also have something to do with UNESCO? Tawfilis: Yes! We recently became the UNESCO Center for Peace for all of California and Baja. And with that I think will help enhance my opportunity and all the people that work with us to bring more cultural education and healing to this area, and to educate people about what real peace begins with me, and our neighbors and our families. And then, you know, I know this all sounds very philosophical but it’s true, you know. And, um, I think we have a pretty good mayor who supports local people more than others that I’ve seen. Maybe it’s because I see her out there in the community more than I’ve seen other mayors do. And I know that she is of Mexican descent, but I also believe that Mexicans have a lot of indigenous people here as well. Kallas: Right. Tawfilis: And when I talk about Mexicans, I don’t mean that they are the invaders of the people that took over. They too have been, you know, victims of genocide. All this belonging to part of that. But the first people here from all the history that I have been able to do my own research on, were the Luiseños. And so, my passion and dedication is going to be based on that. I am going to be looking at other cultures and introducing the people of the world to our local community through this center. But this is―This year, the Valley Arts Festival will feature my dedication to that. As I have this painting behind me. It’s kind of weird that we have this Mexican lady, native, behind me, and then my dancer, and then I am going to do a dedicated mural to the Spirit of the Valley, and to the tribal captain and a woman who happens to be his sister who I think is, in my eyes, the official historian of just about everything that could ever happen to the Luiseños here. And I feel very fortunate, um, coming from where I do, and what I did in Connecticut with the Mashantucket Pequots to see them grow and have the best museum in my eyes, in the whole world, indigenous or otherwise because it’s interactive. To be with people that are still alive that I can talk to and interact with that live right here in this community. So… 14 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 Kallas: So, going forward, what, um, what other projects are on the horizon for you. Tawfilis: Well― Kallas: Besides what you just talked about, are there other avenues that you’re going to pursue? Tawfilis: Oh, thank you for asking. Because one way of documenting history is books. So, I’m writing, actually there’ll be four books that I hope will be coming from me. But interacting with other people, we’re doing, taking the murals now, what am I going to do with twelve miles of murals? My goal is to convince the Smithsonian that they need to take these, because to me it’s a visual documentation of two decades or more of history by the people and for the people. This is their words, not some author who wrote a book about the history of something. It’s from all over the world, and it addresses social issues everywhere. So, what I’m hoping to do is we have a Foundation that we’re going to be―we are part of, called the Endangered Planet Foundation, and our project will, will be embracing that and taking the mural images and trying to create practical products from the mural images and raising money through the sales of textiles and books and things like that, tangible things that can go into a fund that will keep this project going, and long after I’m gone. Hopefully until then I can help form a solid board and we can end up hiring a staff which we’ve never had, to carry on this project, because I think it’s something that can continue. Mural art has been growing all over the world. The cave men have come a long way from their images to creating murals not just on walls but on canvas and ours is mobile. I wanted to have a voice for people that could be shared, not stuck on a wall that you’re never going to― I’m maybe some people will never get to Machu Pichu or to the Egyptian temples and pyramids or caves where we have here in the United States with etchings and things on them. So, this way we can bring people closer together. So that’s the future, is I want to leave a legacy and because I know what works. What other non-profit organization can survive for almost twenty-five years with no money? I’ll tell you why. Because people believe in it, and we believe in it with all our hearts and souls. And, as nearing my seventy-seventh birthday, I bypassed seventy-five because of Covid. I think we have proof in the pudding, so, yeah, that’s the plan, is to continue. Kallas: And speaking from personal experience, I’ve actually experienced the healing process and that sense of community where we’re all working on the same thing at the same time. There’s just so much unity in that and it’s very, you could really internalize that. Tawfilis: Well you know the big―bottom line is mural art gives you a chance to express yourself even with a group, because as you know doing quilt, we do that kind of style with murals as well, in different forms or whatever. You get to express yourself individually but you do it with a group and it brings you all closer together, and in doing so you talk to each other, and the bottom line is you find out how much more we have in common than we have in differences. Which sounds like a cliché, but boy it’s true. Kallas: It’s very true. Tawfilis: We actually do it. And we make ourselves, I mean, better people because we get to know and appreciate other people’s opinions, even if we don’t agree with them. We hear what they’re thinking and feeling, and we learn a lot from each other. And I think that’s how peace is 15 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 going to happen, when we begin to open our minds and our hearts to understanding that we’re different but we all have the same basic common needs. We all want to eat. We all want to be able to have a home over our heads and feel safe. And the richness of having other cultures influencing your life―it’s like if you’re only going to eat American hot dogs and hamburgers, what a boring life that would be, right? [Linda laughs] I always think of it simplistically like that because you end up going “Gee, I like Thai food. I like Chinese food. I like Italian food. Whatever.” Well, that comes from people, you know. And so, the blend and the magic of seeing the dancing from, and the music, the different forms of music, and you can be native American and play rock-n-roll music. I happen to know somebody who can do that and do it well. Or a Filipino that can sing beautiful, musical songs. Or the homeless people with the choir that was started right here from North County. I mean I think that’s a great, you know, cultural contribution to history. So. Kallas: Well, Joanne, thank you so much. It’s been an honor and a privilege to do this interview with you. And I want to repeat something I recently told a mutual friend about you, that I truly think you are a work of art. Tawfilis: Oh, my goodness. Kallas: And I just thank you so much. Tawfilis: Well, thank you. And I also want to say that I did get a PhD at the age of 71. So, my message to all those who think that you never learned and you can’t earn a degree as you get older, you’re wrong. You can get it, and mine was honorary, and I’m really proud of it now because I used to think―I’m very humble about it because I do understand how much hard work goes in to doing a dissertation. I almost got there. I could have done that, but I traveled so much I couldn’t finish. But understanding that when you do a life’s work dedicated to something, I think it’s deserved. I’m saying that today for the first time, that looking back on my career, I did earn it. Kallas: Yes, you did. Tawfilis: And I’m very happy that my, if my dad were alive and I received a big award when I retired. I got the highest award you could get as a civilian and they gave me miniature medal. It’s from the military. As well as a big one. And when I went to Arlington I put that miniature beneath my dad’s cross at Arlington National Cemetery. And I, when I got my PhD, my first trip to Washington, D.C., afterwards I went directly there, and I told my dad “Guess what, dad? You wanted me to get an education, and I got a Ph.D.” Kallas: Wow, what a great note to close on. Thank you again. I really appreciate this. Tawfilis: Thank you. [Looking off camera to someone else] Did I put you to sleep? Unknown male voice: No, that’s a wrap. 16 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 GLOSSARY: Aki (pg.11,12) Ambassador Chaudry (pg.8) Americorps (pg.4) Arlington National Cemetery (pg.16) Army Management Staff College (pg.4) Artist’s Alley (pg.2) Art Miles (pg.2,8) Back Cheese (pg.9) Base closure team (pg.3) Besan (near Russia) (pg.11) Bosnian Women’s Initiative (pg.5) Broadway Pier (pg.2) Chicano Park (pg.3) Chief Joseph (pg.3) Children’s Environmental Health Network (pg.9) Colville (pg.3) Endangered Planet Foundation (pg.15) Foulad (pg.8) Friendship Program (pg.2) Gigiri (pg.5) International Atomic Energy Agency (pg.4,5) International Decade for the Culture of Peace (pg.8,9) International Intercultural Mural Exchange (pg.10) Kettle Falls (pg.3) Luiseño (pg.13,14) Mahsa Amini (pg.12) Mashantucket Pequots (pg.14) 17 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 Mural Museum (pg.2) Muramid Arts and Cultural Center (pg.9) Muramid Pyramid (pg.9) National Congress of American Indians (pg.10) Nespelem (pg.3) Orange Coast College (pg.6) Pablo Tac Elementary School (pg.14) “Painting Outside the Lines” (pg.6) Peace, Unity, Healing (pg.9) Sergeant Shriver (pg.4) Srebrenica (pg.5) “Stem to Steam” (pg.6) Submarine School (pg.2) Supercolor Photo (pg.9) Tuzla (pg.6) UNESCO Center for Peace (pg.14) United Nation Environment Program, Nairobi (pg.4) Vista Volunteer Program (pg.4) 18 Transcribed by Melissa Martin � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tawfilis, Joanne. Interview transcript, October 31, 2022. Description An account of the resource Joanne Tawfilis is the executive director of the Art Miles Mural Project, which has had the participation of over 500,000 people from 125 countries to paint murals. Tawfilis and her late husband Fouad started the Art Miles Mural Project after Tawfilis worked with orphans in Bosnia, where they created a murals using the only materials available -- a 10 gallon can of white wall pain and bedsheets riddled with bullet holes. The Art Miles Mural Project is currently homed at the Muramid Arts and Cultural Center in Oceanside, California, where there are electronic displays of over 5,000 murals, art classes, music, and spoken word performances. Tawfilis has had a storied career and has worked with the United Nations Environment Program (UNEP), the International Atomic Energy Agency (IAEA), the Women of Srebrenica Project, and UNESCO. In her interview, Tawfillis discusses her career working as a civilian employee of the military, as well as her work with the United Nations, IAEA, and the Women of Srebrenica Project. Tawfilis also discusses the creation of the Art Miles Mural Project, the Muramid Arts and Cultural Center, and her thoughts on art as a vehicle for healing, empathy, and peace. Creator An entity primarily responsible for making the resource Joanne Tawfilis Contributor An entity responsible for making contributions to the resource Linda Kallas Melissa Martin Date A point or period of time associated with an event in the lifecycle of the resource 2022-10-31 Subject The topic of the resource Art Miles Project Bosnian Women's Initiative International Atomic Energy Agency Military base closures Mural painting and decoration Muramid Art and Cultural Center (Oceanside, Calif.) Orphanages--Bosnia and Herzegovina Srebrenica Massacre, Srebrenica, Bosnia and Herzegovina, 1995 Unesco United States. Army United States. Navy Women artists Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oceanside (Calif.) Srebrenica (Bosnia and Herzegovina) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Joanne Tawfilis License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/">https://creativecommons.org/licenses/by-nc/4.0/</a> Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context TawfilisJoanne_KallasLinda_2022-10-31_transcription Activists and activism Art and artists Community history North County Oral History Initiative Politics and governance Women's experience