art and Urban Politics-political impact of graffiti politics toward neoliberal urban development.pdf (original) (raw)
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If Walls Could Talk: The Collective Artist-Activist Role In Indonesian Street Art
Malaysian Journal of Performing and Visual Arts
In this article, I argue that the artistic development of Indonesian collectivist street art as an anonymous mode of socio-political activism is vitally important to the building of an awareness of current social issues in Indonesia. In analyzing artist-activist collective Taring Padi's papering of posters and painting of murals in a city in which street art has been co-opted by the government, as well as their utilization of accessible, inexpensive materials and artistic practices to protest political and environmental wrongs, I will demonstrate the collective's ability to provide what I will term an anarchist, non-authoritarian voice in order to educate the broader Indonesian populace. Additionally, with the development of an ever-expanding network of social media and awareness-enhancing events led by the Respecta Art Action Group (RSAG), the people of Indonesia are being given ever more information and outlets for actionparticularly important in a nation where both have been so desperately needed.
Symbolic Functions of Graffiti in Padang City of Indonesia: Critical Linguistic Landscape Studies
JURNAL ARBITRER
This study concerned with language in written form that is visible as graffiti in the Padang city, Indonesia landscape. The mushroomed of graffiti in Padang city landscapes increasingly has been a growing problem in society. Even local government as the official authority has created some task to prohibit graffiti, but a new graffiti has always been emerging in public space. Therefore graffiti has been considered a crime. It is interesting to explore graffiti in Padang city landscapes from other perspectives, particularly the symbolic functions of graffiti. The study uses qualitative approaches by applying Critical Discourse Analysis. The result shows that graffiti in Padang city landscapes accomplished two principal symbolic functions; first graffiti as a medium of demonstration in which providing space for marginalized expression with the opportunity to voice controversial ideas publically; second graffiti as social critics in which providing input into the public discourse that i...
Art, activism and the ‘Creative Kampong’ : A case study from Dago Pojok, Bandung, Indonesia
Kampong Dago Pojok is a local neighborhood within the Dago area of Bandung, an area well-known for its cultural and artistic activities which have contributed significantly to the development of Bandung as a ‘creative city’ in the early 2000s. However, Kampong Dago Pojok has largely been excluded from this development and the wider creative atmosphere of the city. In response to this, the community art activist group Komunitas Taboo has collaborated with local kampong communities to adapt the ‘creative city’ concept to local conditions and forms of social organization, establishing it as a ‘creative kampong’. This paper draws on a participatory research method to explore the lived experiences and creative practices of those who make use of the kampong, with a particular focus on the urban activism of Komunitas Taboo and their collaborative work with local communities. It describes how the ‘creative kampong’ is expressed and produced within the daily ‘traditional activities’ of Kampong Dago Pojok residents, as well as the community organizing work carried out through Komunitas Taboo. These activities draw on local knowledge and practices, and the kampong’s social, economic and geographic position within the Dago area and the city of Bandung, to produce value for the community and to build a social movement for the ‘creative kampong’ as a localized counterpart to the ‘creative city’. Their vision for this community work is to develop a more sustainable and equitable future for this neighborhood, establishing the creative kampong as a vital part of the ‘creative city’ while also posing an autonomous challenge to the dominant forms of neoliberal urban development associated with it. At the same time, the forms of urban activism and artistic production associated with the creative kampong are themselves open to being drawn into such forms of development, producing forms of creative labor and social capital that contribute to the commodification of the creative community. Through revealing such conflicts and contradictions in the creative kampong project, this case study points to new ways of thinking about processes of urban kampong development in relation to community activism, the creative industries, the informal economy, and localized social networks.
Art, activism and the ‘Creative Kampung’: A case study from Dago Pojok, Bandung, Indonesia
Kampung Dago Pojok is a local neighborhood within the Dago area of Bandung, an area wellknown for its cultural and artistic activities which have contributed significantly to the development of Bandung as a 'creative city' in the early 2000s. However, Kampung Dago Pojok has largely been excluded from this development and the wider creative atmosphere of the city. In response to this, the community art activist group Komunitas Taboo has collaborated with local kampung communities to adapt the 'creative city' concept to local conditions and forms of social organization, establishing it as a 'creative kampung'. This paper draws on a participatory research method to explore the lived experiences and creative practices of those who make use of the kampung, with a particular focus on the urban activism of Komunitas Taboo and their collaborative work with local communities. It describes how the 'creative kampung' is expressed and produced within the daily 'traditional activities' of Kampung Dago Pojok residents, as well as the community organizing work carried out through Komunitas Taboo. These activities draw on local knowledge and practices, and the kampung's social, economic and geographic position within the Dago area and the city of Bandung, to produce value for the community and to build a social movement for the 'creative kampung' as a localized counterpart to the 'creative city'.
Post Reformasi Dynamism of the Urban Landscape: A Visual Report from The Street Walls of Yogyakarta
Conference paper: TWO DECADES AFTER 1998 REFORMASI: Achievements and Challenges, November 10, 2017, National Graduate Institute for Policy Studies (GRIPS), Tokyo, 2017
This paper discusses sites of urban infrastructures in Yogyakarta that accommodate the encounters between the contesting ideologies and interests of the emancipated artists-citizens, the government and the capitalist corporate. In the first decade of post-Reformasi era, groups of Yogyakarta’s street artists have been exploring street art as means for activating community engagement and political involvement. Alas, big corporations, with the blessings from the municipal authority, have devalued street art by co-opting it for vulgar advertising. Street wall- -the canvas of the commons—becomes the site where the visual struggle of street artists against the commercialization of public infrastructure distinctly appears. Beyond the aesthetico-political resilience at play in the street walls of Yogyakarta, several artists groups and networks have also initiated performative interventions along the city streets to provoke discussions around the massive construction of malls and hotels, which has caused agrarian conflict and socio-environmental problems over the past decade. Some art projects discussed in this paper are also noteworthy for creating spaces for critical knowledge production through history from below and alternative mapping methods in order to counter the hegemonic vision of state-capitalist urban planning. This paper attempts to ruminate on questions around the relationship between the aesthetics and the politics of reclaiming public spaces by analyzing urban art practices in Yogyakarta. In what ways art projects in urban setting reflect local social conditions two decades after 1998 Reformasi? How does art community connect to other social forces in the 12 on-going project of urbanity? What politics does the aesthetic ideology of urban art enable? What are the limitations and challenges of art practices that were shaped by the will for participatory democracy? Making Use of Politics: Urban Poor Movement
The Social Role of Graffiti of Protesters of
International Journal of Innovation, Creativity and Change. www.ijicc.net, 2020
In Liberation Square in the center of Baghdad, in the Liberation Square tunnel, various thematic drawings documenting the 2019 Revolution of Iraq simulate drawings and writings of sentences in Arabic and English for the production of Iraqi-featured Graffiti art. These drawings are found in all the Arab revolutions in contemporary history, the letters of the walls in the hands of the protesters, and when art becomes the weapon of change in revolutions and peaceful demonstrations, in close proximity to the Monument of Freedom embodied these youth drawings that provoke controversy through their artistic expressions, some of which seem to mimic the symbols of modern Iraqi art embodied by the work of Jawad Salim in the Monument of Freedom, to bear many colors, images and contemporary symbols in formulations that defy reality. Problem of the Study Our world is witnessing transitional transformations that produce creative art and expression that brings about political and social transformations, which qualifies rich opportunities for social and political change by rereading the visual discourse manifested in drawings and writings on the walls of squares in our Arab societies through a socio-cultural reading of various activities with social and political challenges to create a different image of societal reality. Throughout history, a large segment of the generation of educated artists has been subjected to repression at some point in their lives through arrest or exile, as their works posed a threat to the political system, and therefore their works of art were a catalyst for controversy and critical thinking, and what we are witnessing today in the drawings of Liberation Square is a lot of social concepts and from this point on, the problem of research can be limited to the following question: What is the social role of the caravan paintings of the protesters of the 2019 revolution in Iraq? Study Significance The importance of research lies in the following things: first, there is a need to document such drawings because of their expressive aspects that reflect on the recipient symbols and visions that have social connections. Second: To confirm the impact of the artwork, especially the cultural aspect and its implications for the social and political level of our societies. Third: The study benefits researchers in the fields of art. Fourth: The research reveals the role of drawings through the artistic expression of what is the relationship between youth and their homeland. Fifth: Drawings in revolutions have become the main pillars of achieving goals, linked to the lives of individuals in their communities. From these points of view, this research is an attempt to contribute to achieving a conviction of the importance of art and activating its role. Aims of the Study The current research aims to: identify the social role of the caravan paintings of the protesters of the 2019 revolution in Iraq. Study Limitations The research is determined by examining the social role of protesters' drawings of the October 2019 Revolution in the Liberation Square tunnel.
Yogyakarta is a province with the one of the most tourists in Indonesia. The city is significant not only because it is situated in a strategic area of Indonesia, but also because of its cultural values. The way of life of Yogyakarta people is firmly rooted in the honorable principles of Javanese morality. However, in reality, Yogyakarta has been currently not in accordance with what it was originally intended to be, thus leading groups to resist harmful matters, including development. This study focuses on artists who resist with the spirit of Jogja Ora Didol against government policies and the people of Yogyakarta itself. This research used a qualitative approach with an attempt to identify as well as analyze the content of resistance and to encourage action. The methods used were interviews and observations. The findings of this study are the causes of the emergence of Jogja Ora Didol and how the forms of the resistance groups are in opposing. This demonstrates how groups of artists that embody the Jogja Ora Didol spirit can hegemonize other communities to uphold the identity of Yogyakarta.
Redefining the Urban through Graffiti Submitted by
Graffiti as an art form has been vibrant in the recent decades. Graffiti may have been for as long as cities have existed, but in recent years, its characteristics and prevalence have significantly Changed. Since they first appeared on the streets of Philadelphia and New York City in the late 1960s, new types of graffiti writing and street art linked with mostly African-American and Latino urban youth cultures have multiplied and changed in cities all over the world. Despite the Best attempts of metropolitan authorities to remove it, what began as a localised form of public Address has now genuinely gone global, giving rise to a variety of mutations and off-shots. The Work itself takes many forms, ranging from straightforward identity tags to scrawled expressions of protest and politics to intricate and stunning scenes that almost everyone would agree are "art," despite their occasionally challenging settings. Interest in these art forms as social Expression is widespread. Through this the aspirations of the marginalised in an urban space also Blooms out. For example, Marginalized youth in Delhi through the practices of hip hop that also Entails graffiti, were able to exercise a vision of city from below that altered the landscape of Khirki village. In this essay , an attempt will be made to find out how the art of 'graffiti' Practiced by the marginalised section of the cities is significant in giving an alternative Imagination of the urban space , deconstructing the narrative of cities being dominated by the Middle class ideals. This essay will be mostly based on secondary forms of research.
Urban street art as a sign of representing culture, economics & politics of the cities.
The aim of this paper is to study the importance of urban street art as an integral component of the city image, rather than being just defined or limited to wall graffiti, it has been extended to contain other forms of arts, compositions, sculptures, and various forms of mural arts, that were applied and integrated an applied on building walls, streets, landscape, fences, street furniture, and many other components of the built-in environment, these various forms of urban street arts represents different values of the society, and reflects various waves of development in political, cultural and socio-economic contexts. while urban street art is considered as a direct reflection of many changes that happens to a community, as the people try to express their impressions, views, anger, etc. in different forms, using street art as a documentation for such movements, and dynamics that happens, whether on the walls of buildings, railway/metro fences, underground stations, and other urban forms as mentioned above. Thus leading to a change in the built in environment features, sometimes positively by adding a more living sense & aesthetic value to it, and sometimes negatively by adding some drawings or writings that only express the feel of anger for example with no recognized aesthetic value, and a third extreme possibility of vandalism. This type of art was always relevant to a certain level of democracy, and political systems that can accept such way(s) of expressions, and in a context that creates art, appreciates arts in general, and use it in expression. While the case was different in other countries, where art wasn’t that important value, and where the political systems deprived people from expressing their views even in the most traditional ways, being involved also in an endless cycle of socio-economic complicated problems, especially in the developing countries, and the image was clearer in the under developed countries. in other words, this means that such type of art was developed in already developed countries, where urban contexts, and architecture were already well established, settled, organized, and all the channels of expression are maturely used by the communities. How this type of art represents the peoples’ culture, values, and the country’s political & economic positions are the different questions this paper is targeting to find the suitable answer, in addition to how it was integrated with the built in environment represented in architecture and urban contexts and adding a living sense to them. on the way to answer the questions of this research paper, the research will make a literature review of the various definitions of urban street art, graffiti, and other forms of street arts, in different contexts, exploring the different experiences from many countries all over the world including arab countries, with an analysis for some of these experiences leading to a further understanding in order to conclude the answers to these questions. Street art is the art on the streets, with all the components of these streets, and with all the streets can do in or for the city, accordingly it’s a very true expression and reflection of the city life, culture, economy & policy. Urban art cannot and does not exist in a vacuum, the built fabric of cities and towns provides the canvas on which street artists exhibit their creations, inextricably linking it to its environment.