Linguists at Kaunas University of Technology (KTU) have examined the murals that colour Lithuania’s second-largest city, analysing them as part of its linguistic landscape – a concept that treats language as both visual and spatial. Their study suggests that street art in Kaunas functions as a form of cultural activism and collective memory, blending languages, images and historical narratives.
Professors Saulutė Juzelėnienė and Saulė Petronienė argue that the multilingual murals created during Kaunas’ tenure as the European Capital of Culture in 2022 go far beyond urban decoration. They reshape how residents perceive their city, its past and their place within it. While some works were commissioned under official cultural programmes, the researchers note that many have evolved into powerful instruments for community reflection, transforming public spaces into living archives of cultural identity.
“Works depicting the Holocaust or the deportations in Kaunas, such as those in Ramybės Park, on Mickevičius Street and in the Kiemas Gallery, create places of remembrance where people can pause and reflect,” says Professor Juzelėnienė. “This does not simplify history; rather, it brings it closer to people and gives it emotional depth.”
Preserving Kaunas' layered memory
“Kaunas is a city with a strong sense of identity, being one of the most Lithuanian of our major cities,” explains Professor Petronienė, who heads the KTU Centre of Foreign Languages. “However, it is important to remember that Jews, Poles, Russians, Germans and people of other nationalities also lived here between the wars. In fact, Kaunas’ bohemian community consisted of scholars who had studied at universities across Europe.”
The researchers define the linguistic landscape as encompassing all visible manifestations of language in public spaces – from signage and advertisements to graffiti and murals. They emphasise that language is not limited to words alone, but includes symbols, colours and the surrounding context.
Focusing on murals in Kaunas’ central districts, the study argues that celebrating multiculturalism – a defining feature of the city’s past – through art is crucial.
“Preserving historical memory is very important, especially in today’s geopolitical context when there is a real threat that our economic, social and cultural progress will be halted again, along with our freedoms,” says Professor Petronienė. She believes that, although Lithuanians may not take pride in every aspect of their history, with painful experiences taking quite a large part of the past, it is important to maintain historical consciousness.
“Murals are one of the most effective and accessible ways of introducing visitors and residents to the city’s history, and of ensuring that it is not forgotten,” says Prof. Petronienė.
Street art as a form of cultural activism
The KTU research reveals that Kaunas’ murals are not only multilingual, but also active agents of civic engagement. They foster pride, prompt curiosity and encourage dialogue about the city’s identity and history.
“Street art works quietly and subtly through its everyday presence. This sparks people's interest, prompting them to ask questions, take photos and share stories. Murals become embedded in the collective memory. This transforms the relationship between the city’s residents and their surroundings,” says Prof. Juzelėnienė.
Her own interest in street art was sparked a few years ago when her family moved into a building near Kaunas’ synagogue – now known to Kaunas residents and visitors as the Kiemas Gallery (Courtyard Gallery).
“At first, only a few drawings adorned the courtyard walls, commemorating the Jewish residents who once lived there and perished in the Holocaust,” recalls Prof. Juzelėnienė. “Having worked on international projects, I wanted to help develop this idea further.”
Once the projects received funding, new drawings appeared on the walls, and the courtyard gradually turned into a gallery – a cultural space where art became a form of communication. “I feel like I have contributed to the development of this place,” says Juzelėnienė with a smile.
A way to revitalise a city
Researchers say that street art can be seen as a form of community creativity and social communication. Working with partners from other European universities, KTU linguists have conducted several studies on this topic.
Murals have become a defining feature of Kaunas, supported by local government initiatives. Still, many places around the world use this art form to tell the story of their local history.
“During the conception, creation and implementation of mural projects, communities come together and often remain more focused and socially active after the project has ended,” says Prof. Petronienė.
She points to the Dutch city of Heerlen as a striking example. Once depopulated and derelict following the collapse of the coal industry, Heerlen’s abandoned high-rise buildings reflected its decline. “Before the introduction of street art, the city looked desolate and uninviting. “Today, it is an attractive and lively city, whose revival was prompted by wall paintings,” says the head of the KTU Centre of Foreign Languages.
As an exceptional example of wall painting, Prof. Petronienė also highlights Belfast, the capital of Northern Ireland, whose murals famously document the Troubles, one of the bloodiest and longest conflicts in Irish history. According to her, in this case, the walls really do speak: “It’s not just art, but also a channel of communication in the wide sense of the word, because the drawings often feature text.”
The dialogue continues, even as the murals fade
Alongside analysing the murals themselves, the KTU researchers interviewed the artists behind them. They found that the communicative aspect of street art – its ability to spark dialogue – was central to the creators’ vision.
“Conversation with the artists revealed that they view their work as both creative and social action. Many emphasised that the most important thing is forming a connection with the place and its people. Some mentioned that communicating with residents had altered their conception of the work,” says Prof. Juzelėnienė.
According to Prof. Juzelėnienė, artists rarely view murals as static, completed pieces. Instead, they see them as part of an ongoing process that continues as long as the artwork lives in the memory of the community.
All the murals examined by KTU researchers were created around the time that Kaunas was preparing to become the European Capital of Culture. This raised a question – “to what extent did this fact influence the content of the analysed works?” After all, they may convey an official, institutional narrative rather than the authentic voice of the community.
According to Juzelėnienė, if other/different wall paintings located outside the centre of Kaunas were analyzed, more voices of protest and criticism would be found.
“Both official and alternative voices would be included in the city’s linguistic landscape. Such a study would probably present a slightly different cultural portrait of Kaunas,” says a KTU professor.
However, the researchers reject the suggestion that official or institutional involvement reduces the cultural value of these works. On the contrary, they argue that such projects have made it possible to tell stories that were long overlooked or suppressed.
“Our younger generation may be unfamiliar with Kaunas’ rich, meaningful and multilingual history. These works of wall art convey a message that can encourage them to develop a deeper interest and talk to more knowledgeable family members, friends or teachers,” says Prof. Petronienė.
The above-described study was published in the Journal of Multilingual and Multicultural Development and can be accessed through this link.
