Graffiti, according to the Oxford dictionaries (2011), consists of “writing or drawings scribbled, scratched, or sprayed illicitly on a wall or other surface in a public place.” Within this broad definition, however, graffiti can be examined regarding its social and cultural implications: Locally, “street art/graffiti found in Vancouver, British Columbia reveals several different subcultures with stylistic differences linked by significant crosscurrents and forming a pervasive counter culture movement” (Rafferty 1991:277). Upon seeking graffiti on the west side of Vancouver, I have noticed that there are different forms of graffiti which cannot be conglomerated into the constraints of one general definition or category. Moreover, Halsey and Young (2002:165) note that graffiti need to be studied as not homogenous: Noting that graffiti is heterogeneous will facilitate the understanding of its underlying cultural and social aspects and implications. To distinguish between the different types of graffiti, Halsey and Young (2002: 167) note that there are multiple types of vandalism graffiti, like historical graffiti, racist graffiti, and latrinalia graffiti— all of which I have found to be extremely prominent and widespread in the washrooms at UBC, and, in contrast, there is artistic graffiti.
A major theme relating to graffiti and its social and cultural implications that I noticed in my examination of Vancouver’s west side is the difference between creative and artistic graffiti versus vandalism graffiti. These differences have created the idea that “graffiti is both art and crime” which is evident in how people view graffiti, as either attractive or as a social decline (Halsey and Young 2002:165). To distinguish between the two, “graffiti vandalism” pertains to “scawlings that are motivated by a desire to mark territory, create notoriety, or show one’s defiance of the law and society” (Gomez 1993:635). For example, I took pictures of graffiti vandalism on a bus stop in Kerrisdale (Fig. 1) and in a ladies’ washroom at UBC(Fig. 2)—both of which seem to be ‘tag’ vandalism graffiti that are meant to defy society and mark territory (Gomez 1993:646). This kind of non-artistic vandalism graffiti is often associated with criminal activity and violence in a larger socio-cultural context (Gomez 1993:645) and also demonstrates that there is a counter-culture in Vancouver that defies the social and cultural expectations of the larger, dominant culture. Moreover, Halsey and Young (2002:170) note that graffiti culture is often stereotyped as being created by deviants or trouble makers who, as defined by public discourse, are likely unemployed or bored, are anti-social, or are associated with lower-income areas. However, they argue that these stereotypes ought to be cautioned when studying graffiti, as it is diverse and includes artistic graffiti as well.
The other kind of graffiti, “graffiti art” exhibit characteristics that are normally termed “high art” or “folk art” and are often considered pieces because they “result from a desire to create artwork” (Gomez 1993:634). These art pieces often are created by artists who are manipulating mainstream cultural conventions to make parodies or express freedom (Rafferty 1991:277). Moreover, these pieces are often very elaborate and feature abstract signatures, human figures, creatures, and social-advocacy slogans, are created by the artist to build a portfolio, practice skills, or obtain employment, and are created in attempts to improve an artist’s community—not vandalize it (Gomez 1993:647). In general, I found vandalism graffiti more constrained in the Kerrisdale area, as it likely is removed shortly after it is created; however, examples of artistic graffiti seem to be more socially and culturally acceptable in this area of Vancouver, as they are allowed to remain intact without being erased or destroyed.
For example, there is a very elaborate mural of graffiti art in the parking lot of the IGA near the corner of W 41st Ave and Dunbar. The wall consists of three different murals: one of what appears to be a representation of an Asian language with the English words ‘will’ and ‘balance’ along with signature tags (Fig. 3), one of various characters from The Simpsons with signature tags (Fig. 4), and a mural of what is possibly Mother Theresa and the Dalai Lama along with the words ‘mental’ and ‘physical’ with signature tags (Fig. 5). These three murals are all distinguished from each other and demonstrate the artistic diversity of Vancouver, as well as the city’s very diverse peoples and its multiculturalism. Furthermore, the murals also demonstrate aspects of globalisation in Vancouver, as artists are using symbols from around the world that are likely recognisable to most people. As a wider implication, Appadurai (1996:12) notes that reterritorialisation takes place simultaneously when cultural products become deterritorialised and globalised. With this framework, it is evident that culture in Vancouver is diverse and graffiti artists’ creativity incorporates reterritorialised aspects of cultures from around the world that have been integrated into Canadian culture more generally. This demonstrates that graffiti serve as a medium of cultural change and construction in congruence with globalisation, as well as multiculturalism. Artistic graffiti in Vancouver are therefore more socially and culturally acceptable than vandalism graffiti, which seem to promote a counter-culture that defies the ideals of the dominant culture.
Figure
Fig. 1 Vandalism graffiti on the seat of a bus stop on the corner of W 49th Ave and W Blvd.
Fig. 2 Vandalism graffiti on the door of a ladies’ washroom stall in Buchanon B at UBC.
Fig. 3 Asian-inspired artistic graffiti, with English words and tags, in the parking lot of the IGA near the corner of W 41st and Dunbar.
Fig. 4 Mural of graffiti inspired by The Simpsons, with tags, in the parking lot of the IGA near the corner of W 41st and Dunbar.
Fig. 5. Mural displaying possibly Mother Theresa and the Dalai Lama, with tags, and the words ‘mental’ and ‘physical’ in the parking lot of the IGA near the corner of W 41st and Dunbar.
References Cited
Appadurai, Arjun
1996 Modernity at Large: Cultural Dimensions of Globalization. Minneapolis and London: University of Minnesota Press.
Gomez, Marisa A.
1993 The Writing On Our Walls: Finding Solutions Through Distinguishing Graffiti Art From Graffiti Vandalism. University of Michigan Journal of Law Reform 26(3):633-707.
Halsey, Mark and Alison Young
2002 The Meanings of Graffiti and Municipal Administration. The Australian and New Zealand Journal of Criminology 35(2):165-186.
Oxford Dictionaries
2011 Graffiti. http://www.oxforddictionaries.com/definition/graffiti?view=uk, accessed February 6, 2011.
Rafferty, Pat
1991 Discourse on Difference: Street Art/Graffiti Youth. Visual Anthropology Review 7(2):77-84.
No comments:
Post a Comment