‘Breathe and Paint’: Seaside Workshop in Gaza Offers Girls a Canvas for Healing Amidst War
GAZA — Against the backdrop of the Mediterranean Sea, a group of Palestinian girls gathered this week not to play, but to process the horrors of ongoing conflict through art. Under the banner of the “Breathe and Paint” initiative, young residents of the besieged enclave set up easels on the sand, utilizing the therapeutic power of painting to address deep-seated psychological trauma resulting from the devastating war.
The workshop provided a rare sanctuary for children who have spent months surrounded by destruction. Organizers stated the event was designed to give young girls—many of whom have lost homes, family members, and their sense of security—a safe space to express emotions that are often too difficult to articulate in words. Using vibrant colors, the participants painted scenes of hope, memory, and resilience, contrasting sharply with the grey rubble that characterizes much of the strip today.
According to UNICEF, nearly every child in the Gaza Strip is estimated to require some form of mental health support or psychosocial intervention. The psychological toll includes symptoms of extreme anxiety, regression, and nightmares. With schools suspended and safe zones shrinking, initiatives like “Breathe and Paint” have become critical, informal mechanisms for mental health first aid.
The conflict, which escalated following the October 7 attacks by Hamas, has resulted in widespread devastation. While the organizers of the workshop and many international human rights groups describe the ongoing military campaign as a “genocidal war” against the Palestinian population, citing the high civilian death toll and displacement, the Israeli government maintains a divergent stance. Israeli officials have consistently stated that their military operations are strictly targeted at dismantling Hamas infrastructure and neutralizing security threats, asserting that civilian harm is an unintended consequence of urban warfare against an entrenched enemy.
Despite the geopolitical deadlock, the reality on the ground remains stark for Gaza’s youth. For the girls holding brushes on the beach, the geopolitical justifications offer little comfort. The workshop represents a fleeting moment of normalcy in a landscape where childhood has been indefinitely suspended. As the war continues, these canvases serve as both a testament to their trauma and a quiet declaration of their survival.
