Academic literature on the topic 'Graffiti artists – Zimbabwe – Interviews'

In Seville, Spain graffiti is so prevalent that it creates the background of the city. The artists are rarely seen due to the heavy fines imposed by local government. The illegality of graffiti leaves the artists to live within a deviant subculture of their own. This study analyzes graffiti found in Seville, as well as data from nine qualitative interviews with artists from Spain. Commonalties of this subculture as well as differences from American artists were found and discussed.

This article explores various sociocultural aspects of graffiti, and examines municipal administrative responses to its occurrence. It is argued that the diversity of graffiti — in terms of its authors, styles and significance — poses a number of problems for agencies attempting in the first instance to classify graffiti (as “crime” or “art”) and in the second to control its occurrence (whether to “eradicate” or “permit”). Drawing on discussions with local council representatives and on interviews with graffiti artists themselves, the article challenges the stereotypical view of graffiti artists as immersed in cycles of vandalism and/or gang violence. Instead, the article brings to light the complex and creative aspects of graffiti culture and suggests that it is possible (indeed necessary) for regulatory bodies to engage with and promote graffiti culture and that, further, such engagement and promotion need not be seen as authorising a profusion of graffiti related activity across communities.

Purpose This paper aims at presenting an example of the good practice of crime prevention through environmental design (CPTED). The initiative has been carried out by a private tram company in Spain to tackle graffiti. Their main goal was to avoid graffiti defacing in their underground stations, and artists were involved in the design and execution. The intervention consisted of a combined strategy of CPTED measures (anti-graffiti coatings and paintings) with a comprehensive use of the space, turning stations from transit points into poetic spaces, generating emotions and a sense of belonging. The features also included an urban graffiti gallery. Design/methodology/approach This case study presents and describes the actions undertaken from the early stages of problem framing to execution and a soft assessment of the results obtained. All the information provided has been gathered through four semi-structured interviews with managers and designers of the experience. Findings The TramArt experience is an example of the shift in the mindset of transport operators regarding graffiti and graffiti artists. All interventions have been designed by the transport operator in cooperation with situational artists. As a result, the tram stations and vehicles are not conceived either as non-lieux or canvas, but spaces with a singular identity, with the possibility of generating a sense of belonging among passengers and users. The first intervention was tested in 2004 in one station and three years later was deployed in three more stops. According to the initiators, its impact has been mainly positive in terms of success rates, cost reduction and general satisfaction and security perception of passengers. However, the urban gallery has been more problematic to maintain. Research limitations/implications This research focuses on the transport operator perspective basically and views expressed by transport users are indirectly assessed. While the change in the angle may be scalable, the specific features depend to a great extent on particular conditions, such as the size of the company, the resources available and the characteristics of the area covered. Originality/value The value of this case relies in the constructive approach towards graffiti, which goes one step further than the broken windows theory and the criminalisation of graffiti by default. It departs from prevention to enhancement of the prosocial aspects of graffiti, as well as providing a new conception of transit spaces.

The focus of the problem in this study is motivated by the rise of the graffiti phenomenon which contains moral messages to be conveyed by graffiti artists in East Kalimantan, especially in Balikpapan City, Samarinda City, Bontang City, and Kutai Kartanegara District. The purpose of this study was to determine the moral message conveyed in the use of language styles on graffiti in East Kalimantan. This research uses descriptive qualitative method with a sociolinguistic approach. Research data in the form of written text from graffiti data sources in East Kalimantan. Data collection techniques using the stages of observation, study documentation, and interviews. Research instruments in the form of cellphones, stationery, notebooks, and moral style indicator message tables in Graffiti Language. The results found an attachment between language style and moral messages to be conveyed by graffiti makers found 30 data. Research findings include: (1) Religious moral messages, with indicators of submission to God, prayer in earnest, requests for guidance in life, repentance to God, confession of wrongdoing for sin, gratitude, patience, and sincerity. (2) Social moral messages, with indicators relating to human values, mutual respect, mutual cooperation, tolerance, caring, solidarity, and integrity. (3) Individual moral messages, with indicators that include values ​​of obedience, humility, caution in acting, honesty, confidence, accuracy, and wisdom. The conclusion of the study found the use of conflicting language style to be the dominant language style used to express the taste, intention, and work of graffiti makers. Choice of language style in graffiti has a tendency to the style of irony, satire, and sarcasm. Moral messages in graffiti are often accompanied by pictures as illustrations and are implied so that it requires careful observation and in-depth understanding to find out the message to be conveyed by graffiti makers.

In this article, based on two case studies conducted in Stockholm and London, we discuss how graffiti and street art provide forms of expressive cosmopolitanism in reclaiming voice and reciprocity in the city. Through in-depth interviews and observations, we explore how urban artists, using their practice, foster ever-transient and contesting senses of outsidered aesthetics and communicative culture that both seek to challenge the institutionalization and hegemonic indoctrination of today's media cities and, as such, become part of the ensemble that constitute its visual geography. While there are many parallels and inter-urban synchronicity, our results indicate that locally-specific elements are prominent in each city. Both studies indicate that the solidaritarian and spatially mediating character of graffiti and street art, and not just their contents, constitutes a resource in sustaining the possibility of coproducing worldly visions in and of the cities. They both observe struggles for openness and social critique taking place across time and space.

Abstract Economic growth can occur within a monolithic, grey urban environment, allowing for decaying facades and deteriorating public spaces. Where artists provide a colorful facelift to urban infrastructure, cities learn to channel the creative capacity of street art. The public good aspect thereby becomes significant in street art’s dimension of wide accessibility and going beyond the controversy of graffiti. This paper explores the case for supporting street art, as a driver for innovation in urban economies. We review the influence of cultural goods on the well-being of various demographic groups and explore the learning process in their consumption. The paper evaluates the willingness to pay towards public culture by controlling for conscious and unconscious exposure to street art in the public space. From a set of 970 field-based interviews, cultural goods ultimately emerge as a promotor of public well-being. Education is the strongest individual characteristic linked with the appreciation of public art. The better skilled further increase their support for potentially controversial cultural goods when works of street art are explicitly presented. A ‘skilled consumption’ emerges for such novel public goods, with further potential for increasing public tolerance through ongoing exposure to art in the urban environment. Finally, as the value of public art amongst the active population is primarily linked to its potential to drive creativity, we will reframe it as a promotor of dynamic local economies, going beyond individual preferences and well-being.

This research focuses on the numerous manifestations of visual informal communication in the urban public space. Such manifestations are among the most important symptoms of modern development. The study of objects of visual communication can give knowledge that clarifies points of contact and, conversely, discrepancies in perception that can cause conflicts. The author’s aim was to identify and describe the types of objects of visual communication and the peculiarities of their perception by residents on the example of Novosibirsk, Russia. To achieve this aim, the author used several sources of information: interviews with street artists and residents with the help of visual materials, and a large archive of the photos of the objects. To distinguish the types of objects, the author used Harold Lasswell’s communication model as presented by Arthur Berger as a basis. She modified the model according to the features of informal visual communication and the criteria that differentiate objects. The criteria were: message source, author, message, medium, channel, audience, and perception. As a result, the author determined the following types of objects of visual communication: inscriptions and signs, graffiti, street art, public art, HCS (housing and communal services) art, buffs. Perception as a process is not detached from the creation of an object. It is perception that can separate ordinary inscriptions on fences from street art because, even judging by the name, the main criterion for the selection of inscriptions and signs is its means. But some inscriptions surprise, catch attention, and change the choreography of movements, and it is this effect that creates street art. Graffiti are distinguished by a specific means—the font—and by the principles of location in space. Public art is distinguished by the presence of a customer, and its means are almost similar to those of street art. HCS art is a specific category distinguished primarily by the means, the channel, and the author. Buffs are an unexpected discovery, postulating the bilateral nature of informal public communication, characterized primarily by the means. So, one of the key criteria for classifying the types of objects is the means, or the way of coding, which can influence human perception. Types of objects largely determine perception, but even if all the signs of the object can be attributed to one or another type, this does not determine perception. Aesthetics, location, meaning are the main characteristics of the object, which were decisive for respondents’ perception. Respondents’ personal characteristics certainly had an impact on perception, but this was clearly manifested only in the case of HCS art.

ResumenSintetizamos hallazgos de una investigación de contraste realizada en Colombia y Argentina. El método empleado fue de intervención clínica aplicada a la investigación utilizando espacios de habla, entrevistas de orientación clínica, diarios de bordo y clínico con los cuales conseguimos obtener discursos singulares de adolescentes y extrajimos salidas de constitución subjetiva. También usamos técnicas más convencionales con las que accedimos a discursos particulares que se tienen sobre adolescentes. Así conseguimos identificar, en adolescentes, raperos y grafiteros, que sus salidas a la encrucijada de la adolescencia, relacionadas con las agrupaciones, se dan con la sustitución de sus nombres. Presentamos dos casos de raperos que con sus seudónimos buscan el fortalecimiento del lazo filial –social, en especial con las madres –.Palabras clave: nominación, identificación, nombre propio, sustitución, par-cero. AbstractWe summarize the findings of a contrast research carried out in Colombia and Argentina. The method used was the clinic intervention applied to research by using talking spaces, interviews of clinic orientation, logbooks, and the clinic with which we could obtain both singular discourses of the adolescents and solutions of subjective constitution. We also used some more conventional techniques with which we had access to existing particular discourses on adolescents. Therefore, we could identify that, among adolescents, rappers, and graffiti artists, their solutions –related to groups– to the adolescence crossroads happen by substituting their names. We present the cases of two rappers who seek, through their pseudonym, the strengthening of the filial-social bond, especially with their mothers.Keywords: naming, identification, proper name, substitution, par-cero [buddy/pair-zero]. RésuméCet article présente de manière synthétisée des résultats d'une recherche contrastive effectuée en Colombie et en Argentine. La méthode employée a été celle de l'intervention clinique appliquée à la recherche. Des espaces de prise de parole, des entretiens à orientation clinique et des journaux cliniques et de bord ont permis l'identification de discours singuliers d'adolescents, ainsi que des processus de construction subjective. Des techniques plus conventionnelles ont également dévoilé des discours particuliers sur les adolescents. De cette façon, l'on a pu constater que chez les adolescents, rappeurs et graffiteurs, la substitution de leurs noms au sein des groupes représente le moyen de sortir du carrefour de l'adolescence. L'article présente deux cas de rappeurs qui, à travers leurs pseudonymes, cherchent à renforcer le lien filial-social, en particulier avec les mères.Mot-clés : nomination, identification, nom propre, substitution, par-cero [pote/pair-zéro].

The aim - to study the main characteristics of the tour "Street art Zhitomir" and its strategy to promote on the urban tourism market. Research methodology includes a system of methods and techniques: monographic, methods of market research (applied in the study of the existing demand for the proposed type of travel products and attitudes of local people to the street art), interviews with experts (used in collecting information about sightseeing objects), the method of field research (used in the study of the actual state of excursions subjects in real-world conditions of the area). Research results. Reviewed the role of street art in urban space rethinking the example of prominent projects in the world. Established terminological meaning of "street art", "mural", "graffiti" and so on. The benefits of increasing the popularity of street art are noted. Wall painting or mural (in Spanish muro - "wall", "masonry") - a kind of monumental and decorative painting, performed directly on the wall or plaster, in which the images and decorative ornaments are subordinated to architectural forms. It allows to improve urban landscapes in combination with post-Soviet architecture. Other positives of street art are: creating landmarks, designing space, marking space, and more. A separate positive of the Murals: they help attract more tourists to the cities. The text of the publication gives examples of murals in famous tourist centers, which have helped to transform the urban space. The article discusses the importance of street art as one of the most popular and fastest growing types of contemporary art in shaping the space of the urban tourism environment of Zhytomyr. It defines the role of murals as the most common direction of Zhytomyr street art. The results of the study of the most famous and significant murals of the city of Zhytomyr by available sources of information are presented, the possibility of their involvement in the excursion program is analyzed. The main components of the excursion product "Street Art Zhytomyr" in the publication are developed. The tools for promoting the proposed excursion product to the urban tourism market are identified. The scientific novelty of the work: an innovative city excursion product was developed. The excursion program includes fifteen locations. The content of the tour is designed for both professional artists and those who are not experts in the field of art. The practical significance of the work: this excursion product can be introduced into the tourism market and it will contribute to the formation of a positive tourist image of the city of Zhytomyr.

Este artigo problematiza a relação da extensão universitária dialógica e emancipatória com as metodologias participativas, no contexto atual do ensino superior público, a partir da análise de três ações extensionistas, realizadas na Universidade Federal do Tocantins (UFT), Câmpus de Araguaína. Esta pesquisa ancora-se, metodologicamente, na análise qualitativa, com triangulação de pesquisa documental, entrevistas com docentes e relatório do Sistema de Informação e Gestão de Projetos (SIGProj). Tais ações evidenciaram caminhos para a materialização da comunicação entre universidade pública e sociedade que, comprometida com a inclusão social pela educação, poderá promover a (co)produção, o compartilhamento, a comunicação, as trocas e a integração de culturas na sociedade. As experiências extensionistas analisadas demonstraram que a universidade poderá ampliar a construção de conhecimentos socialmente relevantes e de transformação social pela ação, a partir da aprendizagem colaborativa entre agentes da Comissão Pastoral da Terra (CPT), acadêmicos, camponeses do Quilombo Grotão, docentes da universidade, grafiteiros, servidores técnico-administrativos estudantes da Educação Básica, professores das escolas rurais e de pequenas cidades, moradores de povoados e de comunidades rurais. Conclui-se que, apesar dos desafios atuais da universidade pública, algumas estratégias desenvolvidas demonstraram possibilidades de diálogos socioculturais, fortalecidos pela participação daqueles que estão fora da academia, reconhecidos como importantes coprodutores no processo de construção de saberes.Palavras-chave: Extensão universitária. Metodologias participativas. Educação emancipatória.UNIVERSITY OUTREACH WORK: space for communication and social transformationAbstractThis article problematizes the relationship between dialogical and emancipatory university outreach work applying participatory methodologies, in the current context of public higher education, based on the analysis of three outreach actions, carried out at the Federal University of Tocantins, Araguaína campus. This research is methodologically anchored in qualitative analysis with triangulation of documentary analysis, interviews with professors and the analysis of the Information and Project Management System reports. Such actions evidenced pathways for concrete communication between public universities and society, committed to social inclusion through education that promotes (co-)production, sharing, communication, exchanges and cultural integration in society. The outreach experiences analyzed showed that the university will be able to expand the construction of socially relevant knowledge and social transformation through actions based on collaborative learning among agents involving members from the Pastoral Land Commission (CPT), academics, peasants from the Quilombo Grotão community, graffiti artists, technical-administrative servants, students enrolled in basic education, teachers from rural schools and small towns, as well as residents from villages and rural communities. We conclude that, despite the current challenges of the public university, some strategies developed in te case studies demonstrated possibilities for socio-cultural dialogue, strengthened by the participation of those who are outside the academy and are recognized as important co-producers in the process of building knowledge.Keywords: University outreach work. Participatory methodologies. Emancipatory education.EXTENSIÓN UNIVERSITARIA: espacio de comunicación y transformación socialResumen Este artículo problematiza la relación entre la extensión universitaria dialógica y emancipadora con metodologías participativas, en el contexto actual de la educación superior pública, basada en el análisis de tres acciones de extensión, realizadas en la Universidad Federal de Tocantins, Câmpus de Araguaína. Esta investigación está anclada, metodológicamente, en análisis cualitativo, con triangulación de investigación documental, entrevistas con profesores e informes del Sistema de Información y Gestión de Proyectos. Dichas acciones evidenciaron caminos para la materialización de la comunicación entre las universidades públicas y la sociedad que, comprometidos con la inclusión social a través de la educación, pueden promover (co) producción, intercambio, comunicación, intercambios e integración de las culturas en la sociedad. Las experiencias de extensión analizadas mostraron que la universidad podrá expandir la construcción de conocimiento socialmente relevante y la transformación social a través de la acción, basada en el aprendizaje colaborativo entre agentes de la Comisión de Tierras Pastorales, académicos, campesinos de Quilombo Grotão, profesores universitarios, artistas de graffiti, servidores técnicos-administrativos, estudiantes de educación básica, maestros de escuelas rurales y pequeñas ciudades, residentes de aldeas y comunidades rurales. Se concluye que, a pesar de los desafíos actuales de la universidad pública, algunas estrategias desarrolladas demostraron posibilidades de diálogos socioculturales, fortalecidos por la participación de aquellos que están fuera de la academia, reconocidos como coproductores importantes en el proceso de construcción de conocimiento.Palabras clave: Extensión Universitariav. Metodologías participativas. Educación emancipadora.