Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

Features of graffiti art in Iraqi demonstrations 1-. Ali Shaker Naama/ College of Fine Arts/ University of Babylon 2-. Adel Mohsin Manati/ College of Fine Arts/ University of Babylon Abstract This research is concerned with studying (the features of graffiti art in Iraqi demonstrations), and it is located in four chapters, the first of which is devoted to illustrating the research problem, its importance, need for it and its goal, which was limited to (defining the features of graffiti art in Iraqi demonstrations), within a time period between 2019-2020. It is the era that witnessed the popular demonstrations in Iraq, and was characterized by a broad and rich product, and the chapter ended with the definition of terms. As for the second chapter, it included two topics, the first of which dealt with the origins and development of graffiti art, while the second chapter covered diversity in Iraqi graffiti art, and the second chapter ended with indicators of the theoretical framework and previous studies, where it included the most important of the theoretical framework of indicators and concepts. As for the research procedures, they started from all the graffitial works that represent the Iraqi demonstrations and ended with what was analyzed as a sample. The third chapter was devoted to it, which resulted in results, conclusions, recommendations and proposals, and among the results reached by the researchers, including: 1- The features of the graffiti art appeared through the form, where the artist used the STRAIGHT LETTER method, which is called Bubbles, and the nature of the Arabic identity, and gave the character a suggestion of the third dimension (3-D letter) through the use of shadows to achieve perspective. 2- The features of the graffiti art emerged through the content, as the graffiti work carried messages of protest against the ruling authority and the use of violence to suppress the demonstrations, and some graffiti works carried messages demanding stolen rights and a homeland in which the people live in freedom, dignity and safety.

Volume XII, Issue IV, 2020 Page No: 2139 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

The most important conclusions: 1- The international graffiti art corresponds to the Iraqi graffiti art in form through the use of calligraffiti methods used by the graffiti artists and the techniques used in most of the graffiti works. 2- Use graffiti art in Iraqi demonstrations to enrich the public environment and be one of the pillars of aesthetic discourse, through the use of abandoned spaces and empty walls and decorating it with graffiti and graffiti. Then the research dealt with a list of research sources and annexes and a summary in English. Chapter one / methodological framework 1-1 Research problem: Art is one of the fields that occupied a wide area of human thinking, in addition to the fields of politics, social, philosophy and the rest of the other sciences. Art is an imaginative human activity that expresses human, cultural and civilizational situations. Historical and artistic studies have proven that art has formed and still is a basic need and an urgent desire of man and through his historical phases, which he lived from the age of the caves, and as a transition to the stage of cultivation, domestication, mining, and then civilization progression until the present time, and there is no doubt about that, as it is the world that enables him to refer the aspirations of imagination to the reality of the possibility, Through aesthetic treatments that disclose its intellectual structure with all its existential and metaphysical contexts, implicit or announced, using stylistic and technical displacements as a means and a tool to achieve its goals even if it reaches the level of exaggeration, and that the great transformation experienced by various streams of thought after the Second World War (1939 m- 1945) ) reflected on its counterparts of fine arts throughout history, to establish a shift that applies to a new revolutionary understanding, among which is the art of graffiti that appeared as a direct affection for a miserable social situation, which the person / artist suffers, such as depression and poverty deprivation, and as a reflection of the rejection of social conditions, the economic and political situation and the search for new methods expressing the negative aspects of society and its strict laws, and that the artistic works produced in this context made him bear the seeds of rebellion and protest and the variation of their

Volume XII, Issue IV, 2020 Page No: 2140 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

significance, due to the counter movement in terms of content and formality, and in the great diversification in the mechanisms and techniques of artwork, as well as their symbolic and suggestive implications in the event of protest, towards values and norms. These drawings have become more effective political art or an expression of aesthetic social, economic or cultural contents. The features of the graffiti art that gained it importance in the Iraqi demonstrations, because it originated from the womb of a society, to express some political, social and intellectual contents, and it spread in a striking way, so it became a phenomenon that has various goals, including delivering the absent and marginalized voice, and broadcast messages bearing thoughts and feelings through those walls, to them Its significance and its cultural, political or social dimensions, and may carry the concept of (love, satire, nation, freedom, alienation, dream, threat), and other various topics. Based on the foregoing, the problem of the current research is manifested by the following question: What are the features of graffiti art in Iraqi demonstrations? 1-2 Importance and need for research: This study represents an addition to the field of knowledge specialization in the field of contemporary Iraqi fine art, through studying graffiti art applications in a different social, intellectual and ideological environment. It also benefits scholars and researchers interested in the field of arts in investigating international art schools and their manifestations in Iraq. 1-3 Research Objective: The research aims to: Identify the features of graffiti art in Iraqi demonstrations. 1-4 Research Limits: The current induction is determined by the following: Graffiti writings and drawings executed on the walls of the Tahrir Square tunnel in Iraq, which were completed in Iraq (Tahrir Square tunnel, Baghdad), in the period (2019 - 2020). 1-5 Definition of terms Profiles: A-Language: Facial features: Any signs and descriptions of the face that appear. The features of the anger appeared on the face of it. The features and the shadows: What appears in the painters' paintings as illuminated and others are dark. (1, the rich dictionary).

Volume XII, Issue IV, 2020 Page No: 2141 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

Features: What looks good or equal to the face? And the like (2, intermediate dictionary) B- Procedurally: the signs and descriptions of the graffiti art in terms of form and content. 1- Graffiti: A-Terminology: It means writing or scribbling, and it has been used to describe many types of writings on the wall, including prehistoric cave depictions and bathroom wall scripts (3, p. 120). B- The Italian word (Graffito) appeared in the Webster dictionary, which means scribbling, writing, or drawing with a wheel, engravings and drawings found on ancient monuments and their public and private walls (4, p. 42). 2- Graffiti Art procedurally: they are writings, drawings, models, messages, written and drawn and colored plans, and executed on the walls of public or private places without prior permission and which carry a pattern of rejection, rebellion, insubordination and protest in all its political, social, economic and artistic forms. Chapter two / theoretical framework 2-1 the first section / Graffiti art, origination and development The phenomenon of writing and drawing on the walls (graffiti art) is one of the oldest social phenomena, which began with the Neanderthal, i.e. caveman, and many examples of graffiti art can be observed in ancient civilizations such as the Pharaonic civilization and Greek civilization, writings and drawings were found on the rock walls of civilization Pharaohs in ancient Egypt, and specifically in the Temple Om (Com Ombo) (*), represent animal figures painted in a way engraved on the wall, believed to be the first signs of graffiti art, and it is also believed to exist since the days of Roman civilization, and in buildings (the city of Pompeii) (**) And ancient Rome N, where some writings were found engraved on some walls, temples and churches after the spread of Christianity (5, p31). Accordingly, with the development of human awareness in his understanding of the aesthetic wall's function, after his defensive mission was to ward off dangers in wartime, the practice of writing and drawing on the wall has become a kind of state of human disclosure and dialogue with himself or with others, through those

Volume XII, Issue IV, 2020 Page No: 2142 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

walls and deaf masses that pour his desires, protests and challenge to society Social repression, after which the graffiti art is transformed into an art that attacks public and private property, or raises political slogans and a struggle against power, and goes beyond this to express sexual and emotional repression (6, p. 189). Graffiti art was a model for postmodern arts through the liberation of the artist from his reference obligations and the expansion of the concept of artwork from a concept that was limited to painting hanging on the walls of museums and art halls, and directed to class elites, to the concept of the wall and heading to address the various groups and segments of society, where ' We find postmodernism abandoning what the museums, art galleries and libraries have known about, and there are a number of texts and pictures in order to embrace in the arms of local technologies and their potentials, and they rush towards the richness of external cultural frameworks and volatile trends, and this is only one look at (post-event ), And the fact that this label depicting a culture of, at the same time, plurality of patterns; it is a subculture, and in the same time new culture'(7, p. 5). Graffiti was primarily used for political statements and defining gang areas, by gangs in Los Angeles, Philadelphia, and New York - such as Savage Nomads), La (Familia), and (Savage Skulls), to distinguish the boundaries of their regions and territories, to prevent other gangs from approaching their areas, or being revenge, or threatening messages the gang sends to the people concerned, graffiti has become a reference to a group or (county gang) where it composes a group of young people who report the neighborhood events' (David 8, Wallechinsky & Irving Wallace). It is believed that the tag style (***) started in the American state of Philadelphia (****) before New York, with two artists, the first name is (Cornbread) which means Arabic (corn bread), The second was called Cole Earl, and the story of Cornbread, who is believed to be the first modern karate artist, wanted to persuade a girl in his high school, so he started writing (Cornbread loves Cynthia) all over the city to attract her attention. The Cornbride project took, at the height of Fame in the 1960s and 1970s, the idea of marking in a manner different from that used by gangs from visual motifs Signatures and signatures to define their areas, and turn them into a magnet for all ( Allen, 9).

Volume XII, Issue IV, 2020 Page No: 2143 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

As for the identification card method (Taki 183), and(July-JULIO 204), and(Iva 62 – EVA 62) and others, represent the names of the form character varying correction numbers in some cases, similar to scrabble to a person or alias, this means that the tag refers to the name of the person or the name of the month, and the cost of executing on the walls are often handwritten(Verel, 2013, p4) has appeared in New York City, and then the 'featured titles such as (the head cat Tap cat) That was used in New York on behalf of (the style of Broadway) It indicates the long and slender letter .(Stowers, 10) Also, there is a method similar to the previous method, but the difference between them is that this method colors the inner cavity with one or two colors at times, and it is called (THROWUP) or the style of bubbles (Bubbles) (11, p2), and the other type is the line that is called It is (Straight Letter) in the sense of the straight letter, and it is distinguished from its likes by righteousness and a third dimension (3-D letter), and the viewer can read it easily and effortlessly, because his letters are clear and understandable and are characterized by length and shortness, that is, the artist can manipulate the shape of letters, so they appear moving as if It oscillates within the wall space, and the PIECE line method which means (piece) differs from the previous methods Where the structure of the shape, and appears in the form of segmented pieces with colors and no external borders, and is often used to book the artist's borrowed name in a large size, and is more advanced than the previous methods (Miller,), and the style of the wild style (Wild Style)(***** ), So it is to draw interlocking, twisted or torn and very stylized letters, and they are difficult to read, and some forms of arrows, link marks and quotes are added, and some of the lines that give an impression of impulsivity and the movement expressing the energy that the graphiti art aims (12, p 197), And spread the use of another type method known as (ROLLER), which means (cylindrical), and this method is implemented very seriously. Buildings using paint tools and mostly one color, and letters appear in the form of rectangles, and is similar to the (Tag) style, and the type called (EXTINGUISHER) which means (dimmed), and is characterized by fuzzy letters with an extension, in addition to the flow of colors from letters to the bottom And it is often used as a sign on the walls of buildings with a large size (13, p 26), and there is a pattern in which the letters appear to be geometric patterns overlapping, which gives a sense of dynamism for the letters, and

Volume XII, Issue IV, 2020 Page No: 2144 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

those letters appear to be printed by the computer, and this style is called (Computer Rock) Or (Mechanical), the Blocwkbuster style is easy to read, and It is in the form of three-dimensional or two- dimensional characters, and no images are usually accompanied by it. It is worth noting that most of the forms of graffiti included include the name and signature of the artist, whether as a main feature or as an adornment within the piece, in order for the artist to gain fame, and thus to find new and innovative ways To display the artist's name and signature in a visible place, the artwork, instead of scribbling everywhere, was the primary force that stimulated the development of graffiti art, and there is a kind of graffiti art that sends political messages or sends religious, racial or ethnic complaints, which is called ideological graffiti ( ideological graffiti), such as graphics T-painted in (Belfast Belfast) (******) and (Derry) by Protestants and Catholics protesters during the unrest in Northern Ireland, and similar works of art painted on the Berlin Wall before the collapse of East Germany (14, p. 172). During the late seventies, the art of graffiti began to spread on the walls of the tunnels of trains and on the carriages of trains, and took new names commensurate with the transformations that occurred on it, and it was called the Subway Art, and the subway trains became an exhibition of artists' competition and a demand for fame in order to obtain the title (King) Or (queen) of subway art (school graffiti, 15). There are also other reasons behind the emergence of the art of graffiti, including that it achieves many opportunities for the artist's fame, in addition to the artist's enjoyment of excitement and fun (free play), as well as a form of self-expression, and a method of communication with others through technical abilities and skills regardless of ethnic difference (16, p.4). Among the motives that coalesce in rejecting the phenomenon of graffiti art is that they are practicing invisible and most of them tend to invent forms and methods of clandestine work. Some spontaneous or organized groups, teenagers and young people, or young adults among them, have employed graffiti in this direction, in addition to choosing Suitable and less vulnerable places to the eyes of people, security men, municipal men, or the authorities that deter them for moral and personal reasons, and since this phenomenon carries a pattern of rejection, rebellion and

Volume XII, Issue IV, 2020 Page No: 2145 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

insubordination, and that it is implemented on the walls of homes and public places, all of this pushes its owners to prefer sub-streets, narrow alleys and abandoned buildings, in addition to carrying out their graffiti works at night, because it is more a guarantee of protection and self-defense (17, p. 174-175). At the beginning of the eighties graffiti became expressing an art with a visual verb in which writing and language phrases mixed with different images within open spaces that are read and seen from a variety of layers of society, but that the art of graffiti has imposed itself forcibly upon the recipient, whether they are realistic images and often depicts the faces of famous and circulating personalities With the different contents sent, or symbolic forms, the artist uses the mark in the graffiti text as a semiotic discourse, to announce an expression with certain connotations, epistemological symbols, or abstract forms, by drawing a shorthand image, in which the structure of the movement of the forms appears, giving the abstract texts an aesthetic privacy, an adoption of animal forms suggest to the recipient by stripping the forms and reduction of lines, although some forms of iconic character (mythical, animal) (18, pp. 174-175). The art of graffiti has imposed itself on the recipient, and that the artist has learned self-education, as he is an ordinary person with whom the living conditions led to the completion of his work on surfaces or walls, through embezzlement of his expressive media and various methods such as coloring techniques and his use of dyes that sprinkle to speed the completion of the work, He did not set himself conditions for the production of works, and this is what the official artistic establishment rejects and accuses the artist of rejecting its policy and violating its norms (19, p. 33). At the same time, he performed works that 'simulated the life to which he was included in or excluded from, but that simulation was not all direct and professional, but came as sharp criticism and violent attack on the acceleration of time and coups. The graffiti artist found no refuge other than embezzlement, which he used as a general approach to treat his angry, cynical, expressive methods. 20, p. 188). Graffiti art 'possesses a number of intentions and direct intentions for its production in the public or private sphere. It is: artistic creation, pictorial representation of imitation or simulation, purposes against politics or a specific political system, an expression of emptiness,

Volume XII, Issue IV, 2020 Page No: 2146 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

boredom or dissatisfaction with life and society, shattering The ownership of others, a note of a region or area, is a sign of a group of commercial stores or private and governmental institutions, so that the society's perception of this art that is received and perceived varies according to the different social, economic, educational and gustatory references of the recipients, especially since many studies have shown that the graffiti artists who implement the designs are youth (21, p 165). Graffiti art has been associated with 'the culture of (hip-hop)(******* ), which has become a way of life for many young people in America, and that the culture of hip-hop and rap music express the feelings and emotions that arise from anger, and that meet the feelings of the rebellion In graffiti, as a powerful alternative to street nihilism, to express a culture positively shaped by artistic thoughts, feelings, and practices, graffiti music and art have a unified philosophy through the use of constructing bold messages. With the aim of getting the recipient out of the boundaries of his beliefs, and challenging the old traditions, thus the graffiti art is the visual counterpart of music that is an artistic form spoken using (DJ) that combines rap, hip-hop and break dance music, and emphasizing the elements in the graffiti art such as calligraphy, form, and harmony will be parallel to the power of rhythm and passion in music '(22, p. 346). That graffiti art is a kind of simulation of popular culture and the facts of daily life, and at the same time employ the environment to be one of the pillars of aesthetic artistic discourse, and not just a place for displaying artworks, and that most artists derive their topics from political, social and cultural events, and formulate them in the form of protest and rejection of the problems of the times, This is considered an appeal by the poor class with the intent to draw attention to their tragic situation and their deteriorating economic situation, by taking advantage of the walls of buildings and storefronts (shops’ doors), and their display of their demands and rights on various main roads, streets and public places Once it served as advertising and propaganda and decorating it at the same time, by writing writings, signs and shapes in proportion to the shape and size of the wall, as it constitutes the artwork (23, pp. 347-348). By addressing the art of graffiti to everyone without cost or barriers, to produce new aesthetics that undermine all the taken for granted

Volume XII, Issue IV, 2020 Page No: 2147 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

of traditional aesthetics, they look like a new piece of beauty, in which the psychological dimensions and the hustle of violence of things and scribbles intertwine, and words and letters mix with the art of design and design, in different methods and techniques, to reveal all The methods of repressive authorities, and it expresses all kinds of pressures, economic conflict and cultural problems. It is a fast and immediate art that is associated with the state of spontaneous expression that is established through the names of surrounding environmental arts, wall art, and environmental arts, so they become graphic lines, a stream of semiotics, animal figures, and overlapping words that reveal many things, a Dada art that usually incites a spirit of rebellion (24, p. 472). The artist emphasizes the use of calligraphy, color and movement, in the structure of the work of graffiti, and sometimes includes the perspective using the line at times, and the shadows at other times, to suggest the third dimension, and based on the meaning that the artist wants to communicate to the recipient, in addition to the criteria represented in the aesthetic elements and techniques used, and the ability to distinguish and recognize it historically, artistic and cultural, in addition to philosophical and aesthetic features (25, p. 351). 2-2 The Second section / Diversity of graffiti art in Iraqi demonstrations The human being is in constant pursuit and in constant need to devise new and different forms of expressive ways and means through which he can achieve his social interaction with those around him, and he relied on drawing and writing on the walls, since the drawings and their simple expressive forms of the primitive man, which reflect the aspects of social life The first, and karate art is one of the most important phenomena that relate to society in a close relationship, starting from the fact that it spreads between its arms and translates all its problems and issues, and of course the human being is inclined towards his nature of the permanent things that remain for a longer time, and for this we find that he tends and enters A For the use of drawing and graffiti, given the freedom it provides in expression, its absence from view and direct monitoring devices, in addition to revealing several trends, tendencies and even objections, and at other times it is used to guide and awaken awareness about what is happening inside the social entity, and urge its members to Speaking their voices, expressing their

Volume XII, Issue IV, 2020 Page No: 2148 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

opinions, etc. for the purposes achieved by this phenomenon ”(26, p. 15). In many cases, the art of graffiti does not appear except in oppressive occasions such as demonstrations, protests and revolutions that people or individuals detonate from within their societies against the ruling authority, and a direct product of the revolution movement whenever necessary and without the use of imagination a lot, and with the same time is the result of the need and the immediate moment in drawing Free without prior planning, expressing the demands of the people whenever the dialogue is impotent, and is not bound by conditions or artistic doctrines, and the link of graffiti art to Iraqi demonstrations has become clear and solid, and it gained wide popularity and mass, through spontaneous performance in setting the vocabulary of the youth revolution On the walls of the tunnel of the Tahrir Square, after being neglected and abandoned for sixteen years, in formulas that touch the reality of the revolutionary situation in its entirety, and dominated by the patriotic and inflammatory nature, as young people began using the wall to express their protests and their rejection of parties and political blocs, to translate images of natural resilience in the face of the separation and sound bombs Tear gas, and numerous phrases that challenge the gas bombs infiltrating the skulls fired by the riot forces towards the heads and bodies of peaceful protesters, and to express the reality of the revolution against corruption, external interference, and excessive violence in suppressing demonstrations, and these writings and messages have been taken The graffiti died of several dyes of its own, as it came in various forms, including in the form of writings on the demand for the return of the kidnapped homeland by the authority and its militias, which constitute an escaped line from the failed state lines such as (We want a homeland) (Figure 1), or to document the events of the revolution such as (October 25) (Figure 2), it was written in a graphical way that carries the character of the Arab identity, and among the topics that the graphics of graphics deal with are the national identity, the transcendence of the national discourse with the drawings of youth and their voices and against all sectarian rhetoric to shout in the name of the popular components and as a throwback to the ruling mechanism that depends on quotas between nationalities and sects, This is evidenced by the work of the painter (Muhannad Imad) who drew the cartoon character (Grendizer) (Figure 3), which represents good

Volume XII, Issue IV, 2020 Page No: 2149 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

and defends the earth from all evil, and symbolizes the bow at the shoulders to the crescent for Muslims, the cross at the chest of the character to the Christians, and the cross in the hand to the Sabeans , And the sun of the Yezidi sect, referring to the union of the people with all its sects, and rejecting sectarianism in all its forms (Nabil, 27). While the drawings documented the pictures of the martyrs, the most prominent of whom is the activist (Safa Al-Saray) (Figure 4) using the stencil method and he is the most important symbol of this youth revolution, as he died after being hit by a tear gas canister in Tahrir Square to turn into a sign and symbol remembered by generations, because it represents the icon of the rising wall, Whereas, some graffiti writings expressed the demonstrators' insights and ideas against corruption, injustice and tyranny freely, out of sight and control of the authority, such as (a descendant is taking my right) (Figure 5), which represent different methods, all of which were expressed in expressing the protest movement, and optimism about the ability to change (Nuri, 28), and in a clear message to b Some of the satellite channels affiliated with the ruling authority parties, which showed indifference to the events of the protests and demonstrations, there was a graffiti drawing of an old type TV that was used in most Iraqi homes, showing three pictures of monkeys, the first does not speak, the second is not heard and the third is not seen (Figure 6) In reference to the failure of those channels to pay attention to the most important events of the revolution, from the fall of dozens of martyrs and wounded, to the arrest and kidnapping of demonstrators, and to convey the demands of the demonstrators to power, I was content with presenting historical and dubbed series and political meetings and speeches as if they were in another country. ( Asaad, 29) The Iraqi artists and amateurs worked to draw the subjects that mock the symbols of the ruling authority and some of the parliamentary figures involved in corruption (Figure 7), in a sarcastic and spontaneous manner as a provocative reminder against the ruling authority, and among the topics that the youth sought to express is to attract the attention of international bodies such as the United Nations, they are Violation of the governing authority of international conventions and norms, in a graffiti drawing showing a person sitting with a bullet facing him between the two letters (UN)

Volume XII, Issue IV, 2020 Page No: 2150 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

which is the United Nations human rights emblem and above is a word in the English language (WE DESERVE LIFE) which means (We deserve to live) (Figure 8), To indicate a right violation S human Bmriy and ears of all international bodies and organizations, particularly the United Nations (Afasy, 30). In another aspect, one of the artists of the graffiti created a wall of transparent silicon between two iron pillars for one of the demonstration pavilion, to create the surfaces of his works (a silicon barrier), in an area free of walls and buildings, and he carried out his graffiti, and wrote the letters of the phrase (October Revolution) ( Figure 9) using a straight line method (STRAIGHT LETTER) called Bubbles, using Cellograff technology. Among the methods used in the art of graffiti, the adoption of realistic forms and their use in the work of the graffiti, and are often used personalities and faces known and circulated with the contrasting contents targeted by the artist (31, p. 92), has hired the painter (Ali Al-Salhi) artist (Fayrouz) and its song about Baghdad ( Baghdad, poets and pictures, your eyes, O Baghdad, a song, the presence of which is sung and abbreviated ... The free people were not mentioned in a homeland, except that your high-minded people mentioned) in his graffiti work, using the black color to plan its body, to celebrate it and mark signs related to the current events and restore Baghdad) (Serail,32 ). It can be said that the graphics were found as an urgent result for those who are not able to go into the formal art (exhibition halls, galleries and the like), so that art moves from the elite environment in the art galleries to the street environment of the public reception exhibition, and to leave the art galleries, as a practice that possesses its spontaneity And its freedom, and the artist sought to communicate directly with the audience in a language that departs from ambiguity and is easy to understand, so the walls were a platform and a means of displaying his art, and communicating it to the public, by beautifying the public space with projects of graffiti art that were accomplished in order to enrich the public environment, and the artist’s attempt to integrate himself With abandoned walls, openness to the societal environment and sociocultural reality of the society in which the artist lives, working on the artist's cultural perspective and making him an up-to-date with developments of his era, as well as working on homeland and human issues and his individual and collective concerns, and Iraqi graffiti art as an

Volume XII, Issue IV, 2020 Page No: 2151 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

expression of awareness of a new stage that reflects the resistance shown by young artists and hobbyists try to offer solutions to the problems of their societies in their urban areas and show protest against human rights issues, a behavior that results from the fact that it expresses a battle related to the concepts of freedom, revolution and identity. 2-3 Theoretical framework indicators 1- The practice of graffiti art has achieved a kind of state of disclosure of the artist and his dialogue with himself or others, as well as a form of self-expression, and a way of communicating with others through artistic abilities and skills, which provided many opportunities for the artist's fame, and the artist used the line, color and movement in the structure The work of the graffiti, and sometimes includes perspective through its use of calligraphy at times, and shadows at other times, in order to suggest the third dimension, in addition to the criteria of aesthetic elements and techniques used such as the use of spraying by spruce cans. 1. The art of Graffiti carries a pattern of rejection, rebellion and disobedience, because it is carried out on the walls of abandoned buildings and public and private spaces, and it is an art in which writing is mixed with the image painted in open spaces wave to all strata of society, which allowed him to force himself to impose himself on the recipient, and to address everyone No cost or barriers. 2- The first style of graffiti art is the identification card (Tag) , and it has evolved into a style called (Throwup) or (Bubbles), and there is another type called (Straight Letter), there is a type called (Piece) and (Wild Style) style, Another type known as (Roller), similar to the (Tag) method, has been used, and there is a type called (Dim), a method called (Rock Rock) or (Mechanical ), and a (Blocwkbuster) character method. 3- Most of the graffiti works were simulated the life to which the artist belonged, which was excluded or removed from it, and was a harsh criticism and offensive directed against politics or a particular political system, and the acceleration of time and life coups, and most artists find that they are carrying out a fun and beautiful lyrical art, which is creating artistic and pictorial representation, a kind of

Volume XII, Issue IV, 2020 Page No: 2152 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

simulation of popular culture, or an expression of emptiness, boredom or dissatisfaction with life and society. 4. One feature of graffitis is the expression of all kinds of pressures, economic conflicts and cultural problems, and the disclosure of the methods of repressive authorities, which is a fast-paced, real-time art associated with the state of spontaneous expression. 5. Graffiti art often appears at compulsive events such as protests, demonstrations and revolutions by people or individuals from within their communities against the ruling authority, to express their protests and rejection of all manifestations of corruption and excessive violence in the suppression of demonstrations. 6. Graffiti art was a model of postmodern art by expanding the concept of art from a concept that was limited to painting on the walls of art halls, and aimed at class elites to the concept of wall and open space, to address different groups and segments of society. 7- Most of the graffiti artists used pseudonyms to put their signatures in the graffiti work, and most of them are easy to read and quickly identify the artist, through which he gained fame, and some of them resort to borrowing their names from the means of communication and popular culture. 2.4 Previous Studies After research and scrutiny, the researcher did not find previous academic studies approaching his current research within the limits of the title and the problem, its goal and results. 3- Chapter Three / Research methodology 3-1 Research population: The research population is limited to illustrations of the works of graffiti obtained by the researchers through direct depictions of graffiti works, and what has been published on the Internet, which numbered (90) works of graffiti and benefiting from them in a manner that covers the aim of the research. 3-2 The research sample: The research sample, which numbered (3), is a graphical work that was chosen by the researchers intentionally and according to the period specified for the temporal limit.

Volume XII, Issue IV, 2020 Page No: 2153 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

3-3 Research Tool: In order to achieve the aim of the research, the researcher adopted the indicators that resulted in the theoretical framework as simulations to analyze the research sample according to a general description mechanism for the sample, and to define the features of graffiti art in the chosen sample in terms of form and content. 3-4 Research Methodology: The two researchers adopted the descriptive approach to analyze the sample, as it is the most appropriate approach compatible with the nature of the research, and the easiest to reach the goals of the research. 3-5 Sample Analysis:

Template (1)

Artist name: Muhannad Imad, nicknamed (PASHA-86) Business name: October Revolution Year of production: 2019 Working size: approx 2.5m x 3.5m Materials used: Bentley dyes and spray cans. Workplace: Tahrir Tunnel (Baghdad)

This artistic achievement depicts the phrase (October Revolution) written in a graphical way in Arabic, to the right of which is a drawing of a tuk-tuk car and a drawing at the front of it the letter (S). Bubbles, which is distinguished from his likes by righteousness and has a third dimension (3-D letter) to give the form a sense of perspective through the use of shadows, and a character that carries an Arab identity through writing in the Arabic language, in addition to mixing the writing with the drawn image, represented by the Tuk-tuk which It became the icon of the revolution by transporting injured demonstrators as a result smoke grenades launched by riot forces towards the heads and bodies of peaceful protesters, and the artist used the sign (S) at the front of the tuk-tuk vehicle to signify the cartoon character (superman) that represents goodness, and the artist employed it in this accomplishment as a semiotic discourse, to announce an expression with symbolic cognitive connotations, the artistic accomplishment also included the pseudonym of the artist (PA SHA-86), as an ornament inside this accomplishment, in order for the artist to gain fame.

Volume XII, Issue IV, 2020 Page No: 2154 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

In terms of content, this artistic achievement included simulating popular culture and the facts of daily life represented by the events of popular demonstrations, and employing the public environment in order to enrich it and to be one of the pillars of artistic aesthetic discourse, through the exploitation of the Tahrir Square tunnel whose walls were a grayish color, in addition to Send a message expressing spontaneous mobility to the society of marginalized classes by state institutions, expressing the artist's protest and rejection of the ruling parties and political blocs, his rejection of administrative and financial corruption rampant in state joints, external interference, and excessive violence in suppressing demonstrations, through to direct the gravitational discourse to all segments of the people to communicate with the public in a language that is free from ambiguity and easy to understand and without cost or barriers to announce the presence of art in the urban environment, and to leave the art galleries and traditional halls to transfer art from the elite environment located in the art galleries to the street environment for the public reception exhibition The year, as a practice that possesses its spontaneity and freedom to meet different needs that may be personal and rebellious to the general situation.

Template (2) Artist name: Sinan Hussain Business name: Deadly Love Year of production: 2019 Working size: approx 2.5m x 3m Materials used: Bentley pigments and spray cans Place of work: Tahrir Square tunnel (Baghdad)

In this visual achievement, the artist depicts two opposite people (a man and a woman), one of whom wears a mask, and there is a tear grenade aimed at them, and on the left side there is writing in the English language (The killing Love) meaning (fatal love), a graffiti work with a style in which the writing and drawing are mixed on a winding surface (uneven), one of the doors of the stores inside the tunnel of the Tahrir Square abandoned for years in Baghdad, to give the place an aesthetic flair, and to serve as a media and decorative medium at the same time. He refused to use force and excessive

Volume XII, Issue IV, 2020 Page No: 2155 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

violence In suppressing the peaceful demonstrators, in particular the security forces use tear bombs, throw them at the demonstrators and direct them horizontally towards the demonstrators, causing the death of most of them either by direct injury or suffocation of tear gas, which caused the deaths of hundreds of them, and at the same time is an appeal by the artist with the intent to draw the attention of institutions And international bodies such as the United Nations for the violation of human rights in Iraq, and the artist presents a work that derives its components from the vocabulary and circumstances of life far from the traditional style, a work with expressive orientations related to the situation experienced by the demonstrator or rebel, related With all that is alienating in order to provoke the mind of the recipient, and to break the horizon of expectation he has, and in order from the artist to communicate his ideas in a confirmatory manner, and in order to achieve the intended goal, he used the homogeneity between the written text and the drawn image. Perhaps the artist’s use of the doors of one of the shops as a surface on which his work was established, is an indication of the use of private property in the implementation of his graffiti work, and this is what the artists of graffiti in the world did by using public or private properties such as the doors of stores, railway cars, tunnels, public walls, etc. which are not permitted to be used, and represents This is a pattern of rejection and rebellion, in addition to the use of the (tag) line, the soft, lean, one-dimensional embodied in that writing, which was written directly from the box of Spree, as he used it to define the forms of his characters, against a background that was not prepared in advance, which helped him in fast work, as the graffiti artists do.

Template (3) Artist Name: Anonymous Business name: We want a homeland Year of production: 2019 Working size: approx 2m x 2.5 Materials used: spray cans Workplace: Tahrir Tunnel (Baghdad ) In this artistic achievement, the artist depicts a phrase written in the English language (We Want Home). In terms of form, her letters

Volume XII, Issue IV, 2020 Page No: 2156 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

approach the Wild style in his simple and readable form, such that such a first basic method known as (Old school), and her letters were written infrequently with pointed ends moving in different directions without being bound by a single line surrounding the shape, in addition to giving the shape of the line a thing of three- dimensional (three-dimensional), by using shadows to suggest the third dimension and achieving the perspective, and we note the independence of the shape of letters from space by specifying it in black, the color rhythm theme appears Z is between illuminations within the shapes of letters and between their borders and the background, as space is open indefinitely, and we note that the letters are swimming in space, which indicates the intention of the artist to distribute the letters of his phrases within a free and intentional rhythm. As for the content, the artist has used the phrase hash tag (we want a homeland), in his graffiti work, two words that have reduced the process of demanding rights to the utmost words, which the demonstrators carried while calling for a homeland that preserves the dignity, rights and freedoms of the Iraqi citizen, and through the artist’s approach to address the various groups of society using the wall to display his artwork, expand the concept of artwork and liberate him from his reference obligations, after he was limited to the painting hanging on the walls of museums and art galleries, and directed to class elites, to form one of the features of postmodern arts that abandon what museums and art galleries abandon to recognize In the embrace of local technologies and their potentials, and rushing towards the enrichment of cultural frameworks, which led to events of a change in the path of art within society, art has imposed itself on the recipient, through the exit of art from the exhibition halls to the street, so that art has a wide presence, and from It can be circulated, to turn art from secluded to present in Iraqi society, in addition to its presence in the urban space of cities. 4- Chapter four 4-1 Results and discussion: 1- The features of the graffiti art appeared through the figure, as the artist used the (STRAIGHT LETTER) method, which is called (Bubbles), and with the nature of the Arabic identity, which appeared in Sample No. 1, and gave the letter an indication of the third

Volume XII, Issue IV, 2020 Page No: 2157 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

dimension (3-D letter) Through the use of shadows and to achieve the perspective that appeared in sample No. 1, 3. 1- The artist used the combination between writing and image in the graffiti work, to communicate his ideas in a confirmatory manner, and in order to achieve the intended goal, as in sample number (2.1), and to use abandoned places in carrying out the graffiti works and employ the public environment to be one of the pillars of the aesthetic discourse, which appears In sample number (3,2,1), in addition to the artist using private walls (shop doors) to carry out his work as a pattern of rejection and rebellion. 2- The type of calligraphy approaching the (Wild style) method appeared in its simple form in Sample No. (3). the graffiti writing included the color relationship arrangement, such as the contrast between the illuminations within the letter shapes and between its borders and the background, and the use of open space as in the sample No. (1,2) , And the use of the line appeared in the style of the tag, the soft, slim, one-dimensional, which is written directly from the box of the Sprays as in Sample No. (2). 3- The features of graffiti art appeared through the content, as the graffiti actions carried messages of protest against the ruling authority and the use of violence to suppress the demonstrations, and drew the attention of international human rights institutions and the United Nations, as in sample number (3,2,1), and carried some graffiti Messages claiming the stolen rights and a homeland in which the people live in freedom, dignity and safety, as in Sample No. (3). 4- Extending the concept of artistic work from the concept of hanging painting in the exhibition halls, which is directed to factional elites, to the concept of the wall and addressing the various segments of society, so that art becomes a broad presence in the urban space, so that art can be transformed from secluded to present,, so that art imposes itself by force on the recipient this is one of the features of postmodern arts, which appeared in Sample No. 3, 2, 1. 4-2 Conclusions: 1- The international graffiti art corresponds to the Iraqi graffiti art in form through the use of calligraphic techniques used by the graffiti artists and the techniques used in most of the graffiti works.

Volume XII, Issue IV, 2020 Page No: 2158 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

2- Carrying out the art of graffiti in Iraqi demonstrations, the character of Arab identity through the use of Arabic calligraphy in the form of methods of graphite lines, which gave him aesthetic, and he employed graphite art in Iraqi demonstrations to send protest messages against the ruling authority and the administrative and financial corruption rampant in the country, and drew the attention of international institutions to what is happening From the use of excessive violence to suppress demonstrations, messages demanding stolen rights, and a homeland that guarantees freedom and dignity. 3 - Use the art of graffiti in Iraqi demonstrations to enrich the general environment and to be one of the pillars of aesthetic discourse, through the use of abandoned places and empty walls and decorate it with graffiti and graphics. 4- Graffiti art has achieved in the Iraqi demonstrations the presence of art in the urban space of the city, and its exit from the exhibition halls and museums to the exhibition to receive and address all segments of society, and art became present after it was isolated during the previous decades. 4-3 Recommendations: In light of the results of this study, the researchers recommend the following: Activating the study of contemporary art for the initial study, with modern and contemporary artistic approaches in order to open knowledge and aesthetic horizons, and allocating walls in colleges of fine arts for the purpose of providing an opportunity to carry out graphical works for those who possesses the talent of graffiti art, exploiting empty spaces and transforming them into landmarks of art and beauty, in addition to spreading artistic, cultural and urban awareness through these achievements. 4-4 Suggestions: Complementing the research requirements and achieving it, the researcher suggests conducting the following research: (the implications of the symbol in Iraqi graffiti works), (the rebellion and its reflection in the Arab graffiti art). Margins: - (*) - Com Ombo Temple: It is an unusual double temple in the city of Kom Ombo in Aswan Governorate, Upper Egypt, and was built

Volume XII, Issue IV, 2020 Page No: 2159 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

during the Ptolemaic dynasty, 74 - 180 BC, some additions were made to it later during the Roman period, And the building is unique because its double design means the presence of stadiums, halls, sanctuaries and duplicate rooms for two groups of deities. https://en.wikipedia.org/wiki/Temple_of_Kom_Ombo (**) – Pompeii city: It is a Roman city during the era of the Roman governor Nero, which was inhabited by about 20 thousand people, and today there is nothing left of the city except its ancient ruins, the city is located at the foot of the Vesuvius mountain that rises 1281 meters from the sea near From the Gulf of Naples from Italy, Pompeii had a prosperous civilization and coins, and most of the population was wealthy, and this appeared on the sights of the city, and in 79 or 89 AD this volcano erupted and buried the city of Pompeii, Herculaneum and other Roman cities. See https://ar.wikipedia.org/wiki/ (***) - (Tag): Graffiti signs, a form of graffiti signature. Look Tag - Wikipedia https://en.wikipedia.org/wiki/Tag Philadelphia: Philadelphia is the largest city in the state of Pennsylvania, and the fifth largest city in the United States of America in terms of population. It is an important commercial, educational and cultural center for the country. It is one of the oldest cities in the United States and the most populous city. Wikipedia looks at the free encyclopedia https://ar.wikipedia.org/wiki/ (*****) - (Wild Style) was a crew consisting of a group of writers in the seventies of the last century led by (Tracy 168), and this term was widely adopted by writers to denote the complex forms of letters developed by many innovators in All around the aerosol movement. Looking: Miller, Ivor L: Aerosol Kingdom- Subway Painters of New York City, University Press of Mississippi, Jackson, 2002, p 197. Belfast: It is the capital of Northern Ireland, the largest city in Northern Ireland and the province of Ulster, and has experienced the worst turmoil in Northern Ireland, but since the Great Assembly agreed in 1998, the main event has been the redevelopment of the city. Wikipedia looks at the free encyclopedia https://ar.wikipedia.org/wiki/ (*******) - Hip Hop: Obviously violating the prevailing situation, it is a deviation and an artistic departure from the traditional cultural traditions inherited. Al-Shibli, Iyad Mahmoud Haider: Globalization

Volume XII, Issue IV, 2020 Page No: 2160 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

and its representations in postmodern art, PhD thesis in fine arts, University of Babylon, Faculty of Fine Arts, 2012AD, p. 174. 5-Sources and references: 1- Al-Ghani, Abdul-Ghani: The rich dictionary, 2001. 2- The Arabic Language Academy in Cairo, the Intermediate Dictionary, 1960. 3- The King, Badr Abdul: The Human and the Wall, First Edition, Dar Al-Mada for Culture and Publishing, Syria, Damascus, 1997. 4- Al-Shura, Walid Muhammad: Graffiti is a problematic refusal and acceptance, The Arab Journal, No. 492, Rajab 6/28/2016, London. 5- Mc Donald, Finoa, The Popular History of Graffiti: From the Ancient to the Present, publishing by Department Skyhores, New York, 2013, p3. 6- Al-Dulaimi, Munther Fadel Hassan: Nihilism and its reflection in postmodern painting, unpublished doctoral thesis in art education, University of Babylon, College of Fine Arts, 2007 AD. 7- Broker, Peter: Modernity and Postmodernism, 1st edition, Ter: Abdel-Wahab Aloub, Publications of the Cultural Foundation, United Arab Emirates, 1995. 8- David Wallechinsky & Irving Wallace: Graffiti—the Handwriting on the Wall. www trivia-library com 9-Allen, Jessica: Game-Changing Moments in the History of Street Art 9, OCTOBER 23, 2014, http://mentalfloss.com/article/58725/9- game-changing-moments-history-street-art 10- Stowers, George C: Graffiti Art: An Essay Concerning The Recognition of Some Forms of Graffiti As Art, 1997. http- www_graffiti_org-faq-stowers.htm. 11-Pilster, Shane: Graffiti, A brief history, decryption and demonstration, New York, 2000, p26 . 12- Miller, Ivor L : Aerosol Kingdom- Subway Painters of New York City, University Press of Mississippi, Jackson, 2002, p 197 13- Felisbret, Lucke: Graffiti New York, United states, publish by Harper, New York, 2009, p 26

Volume XII, Issue IV, 2020 Page No: 2161 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

14- Al-Qarah Ghuli, Muhammad Ali Alwan: Aesthetics of Design in Postmodernist Drawings, Unpublished PhD thesis in Philosophy in Fine Arts - Drawing, College of Fine Arts, University of Babylon, 2006 AD. 15-school graffiti: subway :www.fatcap.com/nyc-old 16- Stowers, George C: Graffiti Art: An Essay Concerning The Recognition of Some Forms of Graffiti As Art, 1997. http- www_graffiti_org-faq-stowers.htm. 17- The King, Badr Abdul: The Human and the Wall, First Edition, Dar Al-Mada for Culture and Publishing, Syria, Damascus, 1997. 18- Al-Qarah Ghuli, Muhammad Ali Alwan: Aesthetics of Design in Postmodernist Drawings, Unpublished PhD thesis in Philosophy in Fine Arts - Drawing, College of Fine Arts, University of Babylon, 2006 . 19-Jhon.A. Walker: Art since pop.Op. cit,p33. 20- Al-Mashhadani, Thaer Sami Hashem: Intellectual and aesthetic concepts for the use of raw materials in postmodern art, PhD thesis, plastic education, University of Babylon, 2005 AD. 21- Halsey and young, Graffiti and Munic Ipal Administration The Australian and New Zealand Journal of criminology, 2002, p 165 22- Youssef, Nada Ayed: References of Form in Postmodern Formation, Master Thesis in Plastic Arts, University of Baghdad, College of Fine Arts, 2008. 23- Youssef, Nada Ayed: References of Form in Postmodern Formation, Master Thesis in Plastic Arts, University of Baghdad, College of Fine Arts, 2008. 24- Al-Dulaimi, Riyadh Hilal: Between thought, criticism, and visual composition, 1st edition, Dar Al-Sadiq Cultural Foundation for Publishing and Distribution, Babil, Iraq, 2012. 25- Youssef, Nada Ayed: References of Form in Postmodern Formation, Master Thesis in Plastic Arts, University of Baghdad, College of Fine Arts, 2008. 26- Siham, Boutaghan and Ghannouchi Kenza: The Signs of Wall Writing - A Semiotic Study - Streets of Bejaia (model), MA dissertation published in the Arabic Language, University of Abdel Rahman Mira, Bejaia, Department of Language and Arabic Literature, 2017.

Volume XII, Issue IV, 2020 Page No: 2162 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

27- Nabil, Gilgamesh: The art of protest brings life back to the heart of Baghdad, article published on 3/6/2020, at https://akhbarak.net/articles/ 28- Zainb Mohammed Jassim, Shurooq Falah Hassan, Haitham KR Al-Sharifi, Abdullah Hasan Jabbar, 2019 ''Synthesis of Silver Nanoparticles by Chemical Method and Investigated for Antibacterial Activity'' Indian Journal of Public Health Research & Development, 10 (8), 1163-1168 29- Asaad, Ramb Fares: Graffiti ... Live graphics and a people's story, article published in Al-Zaman magazine, dated 01/3/2020, https://www.azzaman.com/ 30- Ya`fasy, Saeed: The art of graffiti documents the protests and the epic of protests in Iraq, an article published on the satellite channel i24news.tv on 11/18/2019. https://www.i24news.tv/ar/ 31- Muhammad, Hawra Ali Abdul: The Psychological Dimensions of Artistic Expression in Graffiti Art, Master Thesis in Plastic Education, University of Babylon, College of Fine Arts, 2017. 32- Alsarai , Hussam: Young artists who took their expressive freedom from the spirit of the Monument to Jawad Salim, an article published on 11/12/2019, on the link. https://www.independentarabia.com/node

Research figures

)figure3( )figure 2( )figure 1(

Volume XII, Issue IV, 2020 Page No: 2163 Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

figure ( )figure 5( )figure4( )6

) figure 8( )figure7(

)figure 10( ) figure 9(

Volume XII, Issue IV, 2020 Page No: 2164