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Features of Graffiti Art in Iraqi Demonstrations 1

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Features of Graffiti Art in Iraqi Demonstrations 1 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,
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