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New Graffiti Sub-Cultures of Beirut, Lebanon Jaime Alyss Holland University of Arkansas, Fayetteville

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New Graffiti Sub-Cultures of Beirut, Lebanon Jaime Alyss Holland University of Arkansas, Fayetteville University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2014 "Beirut Speaks": New Graffiti Sub-Cultures of Beirut, Lebanon Jaime Alyss Holland University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Near and Middle Eastern Studies Commons, and the Social and Cultural Anthropology Commons Recommended Citation Holland, Jaime Alyss, ""Beirut Speaks": New Graffiti Sub-Cultures of Beirut, Lebanon" (2014). Theses and Dissertations. 2269. http://scholarworks.uark.edu/etd/2269 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. “Beirut Speaks”: New Graffiti Sub-Cultures of Beirut, Lebanon “Beirut Speaks”: New Graffiti Sub-Cultures of Beirut, Lebanon A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Jaime A. Holland Arkansas State University Bachelor of Fine Arts in Graphic Design, 2010 May 2014 University of Arkansas This thesis is approved for recommendation to the Graduate Council. Dr. Ted Swedenburg Thesis Director Dr. Jonathan S. Marion Dr. Kirstin Erickson Committee Member Committee Member ABSTRACT Modern graffiti is an ever-present part of urban space. It has become globalized and has adapted to different environments and social contexts. Today in Beirut, Lebanon a phenomenal street art movement is infiltrating public space. This particular movement questions the common understandings that have constructed Western graffiti artists and graffiti culture for so long. A new group of street artists is working to make the art form more inclusive of Beirut’s many communities by writing messages that speak to the whole of Lebanon. They are making their work known in the presence of law enforcement, different sects, and generations. How does an art form that has long been considered as matter out of place get transformed into an empowering feature of the city? What does this say about how societies differ in defining art and deviance? And furthermore, what does this street art movement accomplish in the complicated and dynamic environment of Beirut, Lebanon? ©2014 by Jaime A. Holland All Rights Reserved ACKNOWLEDGEMENTS First and foremost, I would like to thank my thesis director Dr. Ted Swedenburg for his careful criticism throughout this process, as well as the encouragement he has provided me during my years as a student here at the University of Arkansas. My growth as an academic and work on this topic would not have been possible without his instruction and guidance. I greatly appreciate the feedback, interpretation and suggestions of my committee members Dr. Jonathan Marion and Dr. Kirstin Erickson. I thank you both greatly for your time and consideration. I thank the staff of the King Fahd Center for Middle Eastern Studies for their constant encouragement and support with this project. I am forever grateful for being selected as a recipient of the summer Graduate Research Grant from this department, which allowed me to travel to Lebanon to develop this project. I am grateful to Dr. Joel Gordon for assisting me in the early stages of developing this topic. I am especially grateful to Nani Verzon for assisting me in editing the final stages of this project, and for also diligently promoting the events and outside exhibitions associated with this project. I would also like to thank Dr. Mounir Farah for encouraging me to pursue studies in cultural anthropology and putting me in touch with my current academic advisor. I give special thanks to editor and London based writer Malu Halasa. In September 2011 she gave a lecture at the University of Arkansas on Iranian photography, which inspired me to pursue studies in Middle Eastern art. We have kept in touch over the years and before traveling to Lebanon she put me in touch with Lebanese author and typographer Pascal Zoghbi, who has extensively documented the street art scene in Beirut. I would like to thank Pascal Zoghbi for assisting me during my stay in Beirut and helping me meet street artists and find graffiti. I would also like to thank my informants ALI, ASHEKMAN, and YAZAN for taking the time to meet with me and for sharing with me their passion, hopes, and dreams for Arabic street art in their country. I would like to thank my parents, James Holland and Karen and Scott Kagebein, who have encouraged me throughout all of my life’s endeavors. Finally, my undying thanks to Kyle Prince, who so graciously supported me throughout this project and my graduate career, all my love to you. DEDICATION Beirut Speaks is dedicated to my informants and friends, and to the other street artists in Beirut, Lebanon who are working to make a difference in their city and country. TABLE OF CONTENTS I. INTRODUCTION...............................................................................................................1 A. PROBLEM STATEMENTS...................................................................................2 B. WHY GRAFFITI?...................................................................................................3 C. WHY LEBANON?..................................................................................................4 D. METHODS & OUTLINE OF CHAPTERS............................................................5 II. CHAPTER ONE: HACKIN’ THE SYSTEM.....................................................................8 A. ORIGINS OF MODERN GRAFFITI....................................................................10 B. GRAFFITI AND (IL)LEGALITY.........................................................................15 C. GRAFFITI COMES TO BEIRUT.........................................................................18 D. GRAFFITI AND (IL)LEGALITY IN BEIRUT....................................................26 E. LIST OF IMAGES.................................................................................................31 III. CHAPTER TWO: TRADITIONS & COMSOPOLITAN NATURE...............................36 A. ARABIC CALLIGRAPHY & ARABIC GRAFFITI............................................36 B. THE SIGNIFICANCE OF LEBANESE ARABIC...............................................42 C. LIST OF IMAGES................................................................................................48 IV. CHAPTER THREE: GETTIN’ UP COMMERCIAL.......................................................52 A. WESTERN GRAFFITI COMMODIFICATION..................................................56 B. COMMERCIALIZED GRAFFITI IN BEIRUT....................................................59 C. LIST OF IMAGES.................................................................................................65 V. CONCLUSION..................................................................................................................71 VI. NOTES TO CHAPTER ONE............................................................................................73 VII. NOTES TO CHAPTER TWO...........................................................................................73 VIII. NOTES TO CHAPTER THREE.......................................................................................74 IX. BIBLIOGRAPHY..............................................................................................................75 X. APPENDIX: IRB APPROVAL.........................................................................................80 A NOTE ON TRANSLITERATION I have transliterated Lebanese terms using the transliteration system International Journal of Middle Eastern Studies (IMJES). I. INTRODUCTION Most who are knowledgeable about the Middle East are familiar with the cosmopolitan port-city Beirut, Lebanon. Beirut is located within the heart of the Middle East, along the Mediterranean. The area is rich with history of empires and conquests, along with a unique blend of eastern and western influences. This is a country known for liberalism and tolerance, focused on the enjoyable and practical aspects of life. At the same time however, Lebanon is known for exemplifying political and social disorganization, a country marked by sharp sectarian discord. There is profound diversity in the capital Beirut that divides the city along religious and ethnic lines. In the north east of the city is the Armenian suburb Bourj Hammoud, while in the east are the Christian districts Gemmayze and Achrafieh. In the south is the Shi’ite area called the Dahiyeh along with the Palestinian refugee camp Shatila. There is Hamra, one of the city’s most dynamic areas, which hosts many Western chains such as Dunkin Donuts and Radio Shack. This neighborhood is particularly known for being the center of nightlife in Beirut, and also is home to the American University of Beirut. Beirut’s energy and disorganization creates an air of freedom not found in other cities; Beirut is a unique space of order and chaos. Beautiful and historical landscapes that overlook the Mediterranean such as Raouche, commonly known as the Beirut Gates, or Pigeon Rocks, exist in an environmental state of disregard. Upscale and polished architecture of the downtown Beirut Souks and Saifi gardens are adjacent to lower class shanties. From sun up until sun down the traffic is chaotic and noisy, yet the locals’ patience is astounding. The citizens share a peculiar composure that is cynical and patient
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