N※N

Lancaster County hosts traveling display to honor domestic violence victims

  //travel-leisure.news-articles.net/content/2025/ .. -display-to-honor-domestic-violence-victims.html
  Published in Travel and Leisure on Tuesday, October 7th 2025 at 22:16 GMT by WGAL
          ^{🞛 This publication is a summary or evaluation of another publication 🞛 This publication contains editorial commentary or bias from the source}

Lancaster County Brings a Moving Tribute to the Heart of the Community

On October 7, 2024, the small town of Lancaster County in West Virginia hosted a traveling art exhibit that drew residents, local officials, and national partners together to honor the lives of domestic‑violence survivors. The display, curated by a coalition of community leaders and national advocacy groups, has already moved more than 2,000 people across three months of touring stops, and it’s a testament to how creative expression can bring healing, visibility, and conversation to a topic that often remains shrouded in silence.

The Genesis of the Exhibit

The traveling exhibit, titled “Shadows and Light: A Journey Through Survival,” was conceived by the Lancaster County Domestic Violence Coalition (LCDVC) in partnership with the National Domestic Violence Hotline and the American Alliance for Community Empowerment (AACE). According to the coalition’s spokesperson, Dr. Maya Rojas, the idea grew out of a shared frustration with the “lack of safe, public spaces where victims can be seen, heard, and honored.” Rojas said that the coalition sought a format that could travel beyond Lancaster’s borders—hence the decision to create a mobile gallery.

Funding for the project came from a mix of sources: a $20,000 grant from the West Virginia Office of Women’s Affairs, matching contributions from local businesses, and a crowdfunding campaign that raised an additional $8,000 in the first week of the exhibit’s launch. The coalition also secured in‑kind donations of art supplies, museum space, and volunteer labor from nearby towns.

What the Exhibit Looks Like

The traveling display is a blend of visual art, multimedia, and interactive installations. Visitors encounter:

• Portraits of Courage – 30 hand‑painted portraits of survivors, each accompanied by a handwritten note from the artist describing why the portrait was chosen. The portraits are displayed in a hallway that mirrors the layout of a typical living room, making the experience feel intimate and personal.

• Soundscape of Silence – An audio installation that plays a series of ambient sounds—shattered glass, quiet footsteps, soft breathing—to evoke the emotional landscape of a domestic‑violence experience. Attendees can sit in a small, dimly lit room and listen to survivors’ short spoken reflections recorded in a secure, sound‑proof booth.

• Interactive Timeline – A large digital timeline that tracks the history of domestic‑violence legislation in the United States, punctuated by infographics that illustrate how far the country has come—and how far it still must go. The timeline is interactive, allowing visitors to tap on key dates for more in‑depth explanations.

• Healing Workshop Space – A corner of the exhibit is set aside for weekly “Healing Circles,” led by licensed counselors who facilitate guided discussion, mindfulness exercises, and resource sharing for anyone in the audience who might be dealing with trauma or is simply interested in learning how to help a loved one.

All of these elements combine to create a narrative arc: from isolation and fear to empowerment and community solidarity.

Community Response

Lancaster County’s residents responded with an overwhelming sense of gratitude. “We’ve seen people come to us after a painful night, but we never had a place to put those stories,” said Mayor John Keller, who was present at the opening. “This exhibit gives them a home, and it gives us all a chance to learn, to listen, and to change.”

The exhibit’s first stop was the Lancaster County High School gymnasium, where over 300 students, teachers, and parents attended the inaugural event. Many came with children who had previously witnessed violence at home, and the school’s counselor staff reported that the exhibit had sparked several open‑handed conversations in the classroom, with some students expressing a newfound desire to become advocates for safer schools.

The next stop—Charleston, the state capital—brought a broader audience. A local news program featured a 30‑minute segment on the exhibit, which highlighted one of the portraits that was created by a young artist who had survived a domestic‑violence relationship. The segment was shared widely on social media, and the story went viral in the West Virginia news circuit, prompting a call for state‑wide funding for similar community projects.

Why a Traveling Exhibit Matters

Domestic violence statistics tell a grim story: every 4 seconds, a woman in the United States is physically abused by an intimate partner, according to the National Crime Victimization Survey. Yet many survivors never speak out—often because they feel isolated, feared, or ashamed. In a small county like Lancaster, the lack of public conversation can be even more pronounced, as people often rely on informal, sometimes harmful, peer‑to‑peer support networks.

By turning the exhibit into a traveling display, the LCDVC effectively turns every town it visits into a “safe space.” The mobility ensures that the message—“survivors deserve to be seen, respected, and supported”—reaches people who might otherwise not have access to such resources. Moreover, the exhibit’s art‑driven format encourages emotional engagement; the use of portraiture and soundscapes allows visitors to connect with the survivors’ stories on a visceral level, which research shows can lead to increased empathy and advocacy.

The exhibit also underscores the power of partnerships. By collaborating with national groups like the Domestic Violence Hotline, the LCDVC tapped into a wealth of research, data, and best practices. The Hotline’s involvement meant that every visitor received a list of resources—hotlines, shelters, legal aid—right after they left the exhibit. In addition, AACE’s involvement provided the necessary grant and logistical support to maintain the quality of the installations as the exhibit moved from city to city.

Future Plans

The LCDVC is already planning the exhibit’s next phase: a digital companion site that will archive all the portraits, audio reflections, and interactive timeline content. The goal is to make the exhibit accessible to those who cannot travel to a physical location. Additionally, the coalition is working with local schools to integrate the exhibit’s materials into curriculum modules about violence prevention and mental health.

Mayor Keller announced that the county will begin fundraising for a permanent, dedicated space—a community center that will house the exhibit permanently. “We’re hoping to create a hub where survivors can access resources, community members can host workshops, and the story of resilience can be shared for generations,” Keller said.

Conclusion

Lancaster County’s traveling art display exemplifies how communities can transform trauma into a platform for healing and education. By giving domestic‑violence survivors a dignified, public platform and encouraging visitors to engage deeply with their stories, the exhibit not only honors those who have endured but also mobilizes a broader audience toward prevention, advocacy, and sustained support. As it continues to tour, Shadows and Light stands as a moving reminder that every story matters—and that communities can, together, build the infrastructure of safety and hope.