The 7th and 8th years at the Montessori School of Raleigh completed an integrated, project-based exploration of South African apartheid. They used photography, free verse poetry, and mixed media visual art to create a product that answered the essential question, "What is the essence of apartheid?"
3. Am
I
ready
to
be
forgo/en?
Am
I
ready
to
leave
this
hateful
world?
“I
wanted
to
do
a
yin
yang
sign
because
I
think
that
it
shows
equality
and
mix
which
is
important
because
I
wanted
to
make
it
be
the
opposite
of
apartheid.”
Elizabeth
MacMillan
4. A
line
in
my
poem
says:
‘painCng
our
kitchen
red’
and
in
my
visual,
my
background
is
broken
black
and
white
Cle
with
red
peeking
out
behind
it.
My
photos
Ce
in
with
my
poem
because
I
displayed
photos
of
trauma
and
that
Ced
into
my
idea.
painCng
our
kitchen
red
her
black
eyes
no
longer
twinkled
she
no
longer
smelled
of
flowers
Pa/y
Delmedico
5. dark.
light.
restricted.
free.
how
can
one
be
bare
while
the
other
is
full.
with
no
space.
“I
showed
the
difference
by
separaCng
the
field
and
the
woods
then
around
the
hope
I
showed
them
merged
together.
I
wanted
to
show
the
difference
I
described
in
poem
and
captured
in
my
photo,
but
I
also
wanted
to
show
how
during
apartheid
people
had
hope
even
though
the
differences.”
Lillie
Ammons
6. Alone
in
the
city
No
one
with
me
I
was
different
no
one
around
me
“I
represented
the
segrega=on
by
having
the
one
orange
sphere
surrounded
by
blue
spheres
to
show
to
segrega=on
between
the
blacks
and
whites
and
how
the
blacks
would
be
discriminated
so
oBen.”
Dylan
Pham
7. Katrina
Mangs
The
sweat
of
a
man
working
for
nothing.
Scars
from
old
burns
that
have
been
forgo/en.
“The
difference
is
the
color
of
the
skin,
but
we
are
all
the
same
on
the
inside.
And
by
spla/ering
the
black
paint
on
a
white
piece
of
paper
instead
of
spla/ering
white
paint
on
a
black
piece
of
paper
I
wanted
to
show
in
a
symbolic
way
of
how
the
white
men
used
to
think
of
the
black
men
as
mistakes
and
that
hey
we're
not
meant
to
be
how
they
weren't
educated
and
dirty
creatures.
I
cut
my
pictures
up
into
broken
glass
shards
to
represent
our
bong
in
humanity
being
broken
into
a
thousand
shards
falling
into
a
deep
hole,
fallen
from
the
wounded
heart
of
black
man.”
8. Yelling
screaming
crying
day
in
day
out
same
pain
it
is
an
endless
cycle
the
ground
shaking
from
glass
breaking
on
the
ground
i
can
not
help
in
any
way
it
is
like
i
am
frozen
forced
to
watch
this
happen
Michael
Lorenz
9. Why
it
wonders
why
must
people
suffer
because
the
are
of
a
different
pigment.
What
difference
does
it
make?
Is
it
worth
all
of
the
death
sadness
despair
pain
and
bloodshed.
Griffin
Misshula
10. The
bread
controls
the
roast
beef.
I
press
the
sandwich
fla/er,
No
longer
is
it
appeCzing.
The
bread
does
not
prevail,
It
has
the
roast
beef
in
its
firm
grasp.
But
the
inevitable
happens.
Melissa
Schroder
“The
central
meaning
of
my
visual
product
is
oppression.
I
display
this
by
having
a
huge
piece
of
bread
and
two
smaller
pieces
of
bread
in
the
middle.”
11. The
ebony
and
pale,
sliced
with
strict
corners.
Black
then
white
black
then
white
lines,
Only
touching
their
color
through
corners.
Sides
sit
in
silence,
stained
wood
sCll
like
walls.
UnCl
the
ghostly
knights
charge.
Reece
Brind’Amour
“My
free
verse
poem
describes
a
chess
match.
I
showed
how
the
white
races
held
the
power
over
others.
It
shows
how
dominaCon
took
place
during
apartheid.”
12. The
forest
is
dark.
A
thick
canopy
blocks
the
sun
from
peeking
through.
It
is
lost.
But
not
disregarded.
Something
roams
the
woods.
Searching.
The
trees
will
watch
you.
Hungrily.
Pleadingly.
The
great
thwack
of
an
axe,
revol=ng.
Emily
Holmes
13. “The
central
meaning
of
my
visual
product
is
misery.
This
misery
is
one
that
results
from
both
separaCon
and
segregaCon.
I
created
meaning
by
using
a
contrasCng
and
mulCcolored
color
scheme
and
by
using
unambiguous
representaCon
of
the
subject
ma/er.
I
used
my
color
scheme
to
show
pain
in
most
areas
by
using
a
blood-‐like
red
and
only
used
green,
indicaCng
a
healthy
society
or
relaConship,
in
moderaCon.”
Ivan
Petropoulos
…I
could
savor
once
crisp
and
cold
and
clear
water
and
I
could
adore
Our
differences.
14. Ma/hew
Ng
“My
goal
in
creaCng
my
product
was
to
show
that,
although
terrible
things
were
happening,
normal
life
went
on
for
other
people.
I
showcased
that
with
headlines
and
ads
that
were
not
apartheid
related.”
Indifference
tries
to
trip
me
But
I
walk
past
it
I
pick
up
my
pace
The
spilled
blood
fuels
me
I
raise
my
fist
high
Today
I
am
strong
Today
I
keep
on
figh=ng
15. John
Russo
“To
create
the
meaning
of
segregaCon
I
found
a
ro/ed
brown
leaf
and
placed
it
on
one
side
of
the
sidewalk
and
then
I
took
a
bright
green
leaf
that
was
very
lively
and
placed
it
on
the
other
side
of
the
line
in
the
sidewalk.”
16. two
races
separated
with
hate
and
laws
keeping
them
apart
protesters
gathered
in
the
streets
giving
calls
of
jus=ce
geVng
voices
heard
Alex
Rangnow
17. one
day
peace
is
going
to
occur
in
this
world
where
nobody
has
to
use
violence
for
freedom
or
one
race
has
control
of
many
others
Harrison
Kielb
18. Black.
Brown.
Yellow.
White.
Combined,
they
are
beau=ful.
Like
a
Picture,
A
Picture
of
the
world.
But
even
so,
ABer:
Giving.
Sharing.
Teaching.
Some
refuse
to
accept
the
Picture.
They
are
not
Colours.
They
are
Erasers.
Slowly,
ea=ng
away;
at
the
once
beau=ful
Picture.
Crea=ng
a
muddy
canvas.
…And
when
the
Erasing
is
done,
and
the
Colours
are
dead,
the
Erasers
realize
what
they
have
become.
And
see
the
Picture,
Erased,
in
blood
red.
Mehtab
Singh
19. Nicole
Schroder
“The
central
meaning
of
my
visual
product
is
freedom.
I
again
used
the
tree
to
symbolize,
‘inches
bearing
me
close
to
freedom.’
[…].
On
my
poster
you
can
see
that
the
posiCon
of
the
tree
shows
that
the
green
tree
is
not
the
enCre
tree.
This
creates
meaning
because
it
shows
that
the
tree
could
have
extended
further,
and
there
was
sCll
more
to
see,
higher
to
go.”
I
grabbed
a
tree
branch
that
slammed
hard
into
my
hand.
Pulling
my
burning
muscles
up
higher
and
higher
I
started
climbing
I
wanted
to
see
more
Every
inch
bearing
me
closer
to
more
freedom
I
kept
climbing
Un=l
all
at
once,
I
was
struck
miles
down.
20. “The
brown
spots
sca/ered
along
the
edges
are
the
homelands
of
the
black
South
Africans
and
they
represent
the
separaCon
that
was
created
during
apartheid,
despite
being
one
country.”
tears
well
up
in
my
eyes
and
they
fall
to
the
grimy
floor
the
unpalatable
truth
of
my
imprisonment
is
yet
to
be
discovered
Aastha
Dubal
21. Darkness
darkness
is
approaching
there
is
no
light
peeking
in
from
window
cracks
It
is
ready
to
pounce
on
you
like
a
cat
a/acking
a
mouse
Approaching
in
all
direcCons
from
the
leZ
right
above
behind
Now
you
are
hidden
beneath
the
shadows
It
will
take
you
away
from
the
exhilaraCon
delight
humor
of
life
It
seems
as
if
it
is
a
never
ending
depression
conCnuing
for
years
and
years
That
foul
taste
in
your
mouth
is
the
fear
“[I]
made
some
of
[my
poem]
lines
long
to
make
the
reader
lose
their
breath
like
the
black
South
Africans
were
running
out
of
breath.”
Isabel
McGowan
22. When
I
want
to
get
away
from
it
all
I
go
to
my
happy
place
The
place
where
I
am
free
I
can
run
and
play
with
no
worries
I
smell
everything
beauCful
in
nature
The
truth
is
I
can
never
have
this.
Dreams
are
dreams.
Claire
Steffens
“This
poem
represents
how
people
have
dreams
but
they
know
they
are
not
ever
going
to
be
reality.
She
says,
“I
truly
wish
my
dreams
became
reality.”
She
says
this
because
she
has
all
these
ideas
but
when
she
sees
all
of
the
figh=ng
she
knows
they
were
just
dreams.”
23. “I
cut
the
photo
that
shows
injus=ce
in
half
and
put
the
side
with
the
three
boys
having
a
good
=me
on
one
side
of
the
wall,
while
the
one
boy
is
huddled
on
the
other
side
to
maximize
the
impact
the
photo
shows.
Also,
the
one
side
is
much
larger
and
is
meant
to
symbolize
the
larger
African
popula=on
of
South
Africa,
while
the
other
side
represents
the
white
minori=es
of
South
Africa.”
Crumbling
roads
imita=ng
the
unjust
hardship
of
most,
and
when
the
oppressed
speak
up
in
opposi=on
to
these
atroci=es,
the
oppressors
retaliate
with
guns
blazing.
In
the
name
of
a
state
of
emergency,
in
absolute
control
quenching
the
protest.
Thomas
Macaulay
24. “My
visual
is
a
grave
for
apartheid.
But
unlike
most
graves
this
one
is
covered
with
cobwebs
and
blood
that
should
not
have
been
shed.
A
photo
torn
into
two
shows
the
different
spliVng
sides.”
people,
of
the
same
earth,
like
moses
parCng
red
sea.
they
don't
share
anything,
only
air,
against
their
own
will.
will
things
ever
be
the
same?
wind
howling
through
the
skies,
replicas
of
cries
from
distressed
souls.
confidence
and
sympathy
replaced
by
fear
and
hatred,
will
things
ever
be
the
same?
Shayleigh
Larsen
25. Books
co-‐exist
in
the
hot
rays
of
a
solar
orb,
one
is
favorable
than
the
other.
one
loved
so
darling,
so
close,
another
sits
out
just
to
boast.
Polished
maybe
everyday
just
to
be
set
out
and
put
away.
Jackson
Hughens
26. shoved
aside,
without
a
use
they
are
inferior,
we
say
lacking
any
meaning,
treated
poorly
we
keep
them
distant
from
us
for
they
are
a
hazard
and
a
toxin
to
us,
the
superiors
this
is
apartheid
this
is
segrega=on
Daniel
Jiroutek
27. As
we
get
closer
to
the
front
of
the
line
the
smell
of
fear
and
tear
gas
fills
the
air
with
sorrow.
We
hear
the
guards
yell
but
we
can't
understand
them,
voices
get
louder
as
we
get
closer.
The
papers
start
to
come
out,
we
are
split
into
two
lines.
As
we
get
closer
there
was
a
enormous
yellow
sign
saying:
“RESTRICTED
AREA
FOR
NON-‐WHITE
PERSONNEL,
MUST
HAVE
PASS
LAW
DOCUMENTS
WITH
YOU
AT
ALL
TIMES.”
“The
meaning
of
my
free
verse
poem
was
to
show
how
pass
laws
took
over
people’s
lives
back
then.”
Hannah
Massey
28. “The
meaning
of
my
poem
was
about
the
protest
during
the
apartheid
and
how
the
police
would
some=mes
use
force
to
stop
the
protesters.
I
wanted
to
write
the
poem
from
a
person
standing
as
a
protester’s
perspec=ve.”
The
yelling
was
so
loud.
Then
“BOOM”
silence.
A
gunshot
and
silence.
I
stood
there.
I
watched.
Jessica
Emanuel
29. I
sca/ered
the
pictures
and
Clted
them
a
bit
in
order
to
bring
out
how
messy
and
careless
Apartheid
was.
My
poetry
is
wri/en
in
sharpie
in
order
for
it
to
be
seen,
and
is
in
a
messy
fashion
for
the
same
reason
the
pictures
are.
Over
top
of
everything
are
pastelled
words
such
as
‘violence’
and
‘why.’
These
words
are
in
a
variety
of
different
colors
and
look
like
graffiC,
which
brings
out
the
confusion
and
despair.
In
the
center
of
the
poster
in
pastel
is
South
Africa’s
flag,
with
arrows
of
every
different
color
poinCng
to
it.
This
represents
that
to
ma/er
what
color
you
are,
we
need
to
unite,
bring
peace,
and
put
violence
to
rest.
Dylan
Peverall
30. “The
central
meaning
of
my
visual
product
is
how
you
are
bound
by
apartheid.
To
create
this
meaning
I
made
the
biggest
piece
a
picture
of
shackles.
Also
I
put
my
pictures
up
there
with
chains
around
them
showing
that
they
were
being
bound
by
apartheid.
“
Sadness
in
the
air
Violence
in
the
streets
Death
and
destrucCon
all
around
Laws
that
do
not
allow
people
to
depart
without
passes
Families
gedng
detached
from
one
another
Rubble
where
houses
used
to
be
The
sound
of
gunshots
and
explosives
everywhere
Only
11
bathrooms
for
7000
people
Racial
segregaCon
everywhere
you
can
see
Josh
Deming
31. Devin
Clark
We
were
protesCng
protesCng
for
our
freedom
against
the
passes
without
having
our
passes
we
were
arrested
together
my
friend
and
I
were
protesCng
in
the
town
square
the
square
was
crowded
with
people
my
friend
and
I
were
holding
a
signs,
like
many
his
sign
said
FREE
SOUTH
AFRICA
and
my
sign
said
MANDELA
FOR
FREEDOM
others
had
signs
but
I
could
not
read
them
People
were
chanCng,
yelling,
shouCng
32. Crackling.
Air
staCc
with
tension.
Glares
fighCng
their
way
through
the
endless
chains.
Chains
pulled
by
a
puppetmaster.
Pale
hands
pulling
strings
Overused
wooden
handles
clu/ering
together
Splinters
worming
their
way
into
white
skin
“Like
my
poem,
the
Theatre
of
Injus=ce
mainly
demonstrates
control
and
injus=ce
by
taking
my
poem’s
analogy
of
puppets
and
building
on
it.
It
replicates
an
old,
poorly
taken
care
of
puppet
theatre.
I
used
watered
paint
and
old
cloth
to
compare
it
to
a
homeland
and
how
they
were
not
taken
care
of.
The
puppets
are
painted
the
same
as
the
background
to
show
how
they
weren’t
considered
real
people,
and
were
made
faceless.”
Paige
Stevenson
