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Youth Graffiti Vandalism : Liminal Perspectives in the Light of Masculinity, Social Contract Theory and Transformative Process

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Youth Graffiti Vandalism : Liminal Perspectives in the Light of Masculinity, Social Contract Theory and Transformative Process University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2015 Youth graffiti vandalism : liminal perspectives in the light of masculinity, social contract theory and transformative process. Alton C. Frabetti University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Philosophy Commons Recommended Citation Frabetti, Alton C., "Youth graffiti vandalism : liminal perspectives in the light of masculinity, social contract theory and transformative process." (2015). Electronic Theses and Dissertations. Paper 2256. https://doi.org/10.18297/etd/2256 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. YOUTH GRAFFITI VANDALISM: LIMINAL PERSPECTIVES IN THE LIGHT OF MASCULINITY, SOCIAL CONTRACT THEORY AND TRANSFORMATIVE PROCESS By Alton C. Frabetti B.A., University of Massachusetts, Amherst, 1992 MA, MFA, Stony Brook University, 2007 Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of the Humanities University of Louisville Louisville, KY August 2015 Copyright 2015 by Alton C. Frabetti All rights reserved YOUTH GRAFFITI VANDALISM: LIMINAL PERSPECTIVES IN THE LIGHT OF MASCULINITY, SOCIAL CONTRACT THEORY AND TRANSFORMATIVE PROCESS By Alton C. Frabetti B.A., University of Massachusetts, Amherst, 1992 MA, MFA, Stony Brook University, 2007 A Dissertation Approved on July 15, 2015 By the following Dissertation Committee: ________________________________ Director, Dr. Diane Pecknold ________________________________ Dr. Annette C. Allen ________________________________ Prof. Ying Kit Chan ________________________________ Dr. Gary Walton ii DEDICATION to my wife, Sylvia, and my brother, Michael iii ACKNOWLEDGEMENTS My first thanks go to my committee. Dr. Pecknold agreed to a difficult role, to chair a committee for the first time for a candidate who would be writing from long distance. Her insightful comments and precise suggestions throughout the editing process have made this paper vastly improved and easier for me to edit. Dr. Allen was my mentor throughout my doctoral studies and I have appreciated her support for my creative ideas. Prof. Chan was also my enthusiastic and supportive graduate adviser and frequently combated my cynicism about my prospects in the academic job market. His thoughts about liminal aesthetics as well as general suggestions on the elements of the dissertation directly relating to the field of the visual arts were very helpful. Dr. Walton, my outside reader, was the first to publish my writings on graffiti at the outset of my research and demonstrated patience and thoughtfulness for the later process of the dissertation defense. Any work on graffiti would be remiss not to acknowledge the researcher's indebtedness to the vast population of individuals who make graffiti, which I do so now. Similarly, its antagonists, abatement crews and enthusiasts also create the culture of graffiti and have my thanks. Most of my ideas were founded upon my personal intuitions and insights; however, from a scholarly perspective, they were inspired initially by Lisa Macdonald's The Graffiti Subculture. iv Finally, I would like to thank the two people to whom this work is dedicated. Researching and writing a dissertation requires time and patience both from the writer as well as those closest to him or her. My wife, Sylvia, has been supportive throughout the process and has endured with me its challenges. She has provided me feedback whenever needed. The other person is my brother, Michael. His den in the Midwest created my first grounds for transplant; he aided me in creating a new home in Louisville; and he assisted me in moving from Louisville back to Boston. He showed continued support throughout all my studies (he attended my Masters commencement ceremony at Stony Brook University, New York) and assisted me even up through the final defense. Those of us in his extended 'pack' count ourselves lucky to be so bastioned. v ABSTRACT YOUTH GRAFFITI VANDALISM: LIMINAL PERSPECTIVES IN THE LIGHT OF MASCULINITY, SOCIAL CONTRACT THEORY AND TRANSFORMATIVE PROCESS Alton C. Frabetti August 1, 2015 American adolescents experience liminality as their rights, obligations and cognitive development place them in a transitional life-period between childhood and adulthood. This liminal period inspires compensatory activities, such as identification with mainstream popular styles, radical adherence to an ideology or religion, or, for those especially struggling, destructive behavior. Graffiti is one such compensatory activity. Its practitioners' risky conduct, as well as their overall claims to exalted artistic activity, are especially appealing to certain males attempting to construct a retrogressive notion of masculinity and self-esteem in response to the further condition of male liminal identity. The practice of graffiti confronts the political and social contradictions of adolescence in many aspects, even in the very process of its performative construction, resulting in a variety of effects upon the liminal state of the youth involved. This effects includes how all aspects of graffiti involvement both build upon and yet undermine their male identity; assert the freedom and rights of rebellion-oriented members while tending to preserve their status as law-abiding citizens; vi and involve them in a 'career' which undulates between layers of liminality: its renewal, avoidance, aesthetic encounter/disencounter and eventual semi-termination. Males of a specific character who tend toward the Schillerian savage find themselves rejecting societal codes due, in part, to the liminality invoked by the unusual invocation of their rights and limitations on their civic powers. Rejecting societal laws and codes, they identify with the savagery and retrogressive masculine virility of graffiti as a flight from liminality, even while still preserving it to some degree. In the process of their involvement and production, such as the disciplined labor of making complex masterpieces, they actually undermine the savage elements that appealed to them at the outset. Their mindset undergoes a transformation as they contemplate what they consider to be the beauty of exceptional graffiti, maturing them out of its illegality into full citizenship. The main obstacle that remains for them might be the enduring legal record for those who were at some point arrested by authorities. vii TABLE OF CONTENTS I. INTRODUCTION ........................................................................................................................ 1 A. WHY GRAFFITI? ....................................................................................................................... 1 B. GRAFFITI: SCHOLARLY AND NON-SCHOLARLY ATTENTIONS ................................................. 3 Issues and Concerns ................................................................................................................. 7 C. LIMINALITY AS A CROSS-DISCIPLINARY CRITICAL PARADIGM ............................................ 14 1. The Structure of Liminality ................................................................................................. 15 2. Four Characteristic Qualities of Liminality ....................................................................... 18 a. Vulnerability and Imitation .............................................................................................................................. 18 b. Communitas ..................................................................................................................................................... 20 c. The Trickster, or Beguiling Ideologies ............................................................................................................ 20 d. Schismogenesis ................................................................................................................................................ 22 3. Youth and the Liminal Condition ........................................................................................ 25 D. THE STRUCTURE OF THIS ESSAY ........................................................................................... 29 II. THE PHENOMENON OF GRAFFITI ...................................................................................... 34 INTRODUCTION ........................................................................................................................... 34 1. The Objects ......................................................................................................................... 36 2. The Makers .......................................................................................................................... 50 3. The Tools of the Trade ........................................................................................................ 57 4. Audience .............................................................................................................................
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