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Street Art of Resistance Aalborg Universitet Introducing the street art of resistance Awad, Sarah H. ; Wagoner, Brady Published in: Street art of resistance Publication date: 2017 Link to publication from Aalborg University Citation for published version (APA): Awad, S. H., & Wagoner, B. (2017). Introducing the street art of resistance. In S. H. Awad, & B. Wagoner (Eds.), Street art of resistance (pp. 1-16). Palgrave Macmillan. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: September 30, 2021 Palgrave Studies in Creativity and Culture Street Art of Resistance EDITED BY Sarah H. Awad & Brady Wagoner Palgrave Studies in Creativity and Culture Series editors Vlad Petre Glăveanu Department of Psychology Webster University Geneva, Switzerland Brady Wagoner Department of Communication and Psychology Aalborg University Aalborg, Denmark [email protected] Both creativity and culture are areas that have experienced a rapid growth in interest in recent years. Moreover, there is a growing interest today in understanding creativity as a socio-cultural phenomenon and culture as a transformative, dynamic process. Creativity has traditionally been con- sidered an exceptional quality that only a few people (truly) possess, a cognitive or personality trait ‘residing’ inside the mind of the creative individual. Conversely, culture has often been seen as ‘outside’ the person and described as a set of ‘things’ such as norms, beliefs, values, objects, and so on. Te current literature shows a trend towards a diferent under- standing, which recognises the psycho-socio-cultural nature of creative expression and the creative quality of appropriating and participating in culture. Our new, interdisciplinary series Palgrave Studies in Creativity and Culture intends to advance our knowledge of both creativity and cultural studies from the forefront of theory and research within the emerging cultural psychology of creativity, and the intersection between psychology, anthropology, sociology, education, business, and cultural studies. Palgrave Studies in Creativity and Culture is accepting proposals for monographs, Palgrave Pivots and edited collections that bring together creativity and culture. Te series has a broader focus than simply the cul- tural approach to creativity, and is unifed by a basic set of premises about creativity and cultural phenomena. More information about this series at http://www.palgrave.com/gp/series/14640 [email protected] Sarah H. Awad • Brady Wagoner Editors Street Art of Resistance [email protected] Editors Sarah H. Awad Brady Wagoner Department of Communication and Department of Communication and Psychology Psychology Aalborg University Aalborg University Aalborg, Denmark Aalborg, Denmark Palgrave Studies in Creativity and Culture ISBN 978-3-319-63329-9 ISBN 978-3-319-63330-5 (eBook) https://doi.org/10.1007/978-3-319-63330-5 Library of Congress Control Number: 2017964491 © Te Editor(s) (if applicable) and Te Author(s) 2017 Tis work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and trans- mission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Te use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. Te publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Te publisher remains neutral with regard to jurisdictional claims in published maps and institutional afliations. Cover illustration: Artwork by .frA* / www.instagram.com/essegeefra / #essegeefra Printed on acid-free paper Tis Palgrave Macmillan imprint is published by Springer Nature Te registered company is Springer International Publishing AG Te registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland [email protected] Contents Introducing the Street Art of Resistance 1 Sarah H. Awad and Brady Wagoner Part I Teories of Aesthetics, Resistance and Social Change 17 Art and Social Change: The Role of Creativity and Wonder 19 Vlad Petre Glăveanu Subjectivity, Aesthetics, and the Nexus of Injustice: From Traditional to Street Art 39 Tomas Teo Resisting Forms: Prolegomena to an Aesthetics of Resistance 63 Robert E. Innis v [email protected] vi Contents Part II Image Circulation and Politics 85 Indigenous Images of Democracy on City Streets: Native Representations in Contemporary Chilean Graffiti and Muralism 87 Guisela Latorre The Resistance Passed Through Here: Arabic Graffiti of Resistance, Before and After the Arab Uprisings 113 Rana Jarbou The Arabic Language as Creative Resistance 155 Basma Hamdy Part III Urban Space: Te City as an Extension of Self 177 Speaking Walls: Contentious Memories in Belfast’s Murals 179 Daniela Vicherat Mattar Inventive ReXistence: Notes on Brazil Graffiti and City Tension 201 Andrea Vieira Zanella Embodied Walls and Extended Skins: Exploring Mental Health Through Tataus and Graffiti 223 Jamie Mcphie Indigenous Graffiti and Street Art as Resistance 251 Matthew Ryan Smith [email protected] Contents vii Part IV Artists and Social Movements 275 Representations of Resistance: Ironic Iconography in a Southern Mexican Social Movement 277 Jayne Howell The Democratic Potential of Artistic Expression in Public Space: Street Art and Graffiti as Rebellious Acts 301 Cecilia Schøler Nielsen The Aesthetics of Social Movements in Spain 325 Óscar García Agustín Sheherazade Says No: Artful Resistance in Contemporary Egyptian Political Cartoon 349 Mohamed M. Helmy and Sabine Frerichs Index 377 [email protected] List of Figures Chapter 1 Fig. 1 Mural in Tahrir Square after the 2011 Egyptian revolution. Grafti artist: Omar Fathy (Picasso). Photo credit: Ranya Habib 3 Chapter 3 Picture 1 Palestinian Roots, Ahmad Al Abid, York University, Toronto, Photo by Tomas Teo 47 Picture 2 Filled in Shibboleth in Tate Modern, London, Photo by Tomas Teo 50 Picture 3 Capitalismo = Terrorismo, Valparaiso, Chile, Photo by Tomas Teo 53 Picture 4 Endless Worship, Wall painting in London 2016, Photo, Courtesy Klaus Dermutz 54 Picture 5 Kill All Artists, Wall painting in Venice 2016, Photo, Courtesy Klaus Dermutz 56 Chapter 5 Fig. 1 Aislap, Meli Wuayra (2010), grafti mural, Museo a Cielo Abierto San Miguel, Santiago 88 Fig. 2 Gigi (Marjorie Peñailillo), Untitled (2011), grafti mural, Valparaiso, Chile 98 Fig. 3 Gigi (Marjorie Peñailillo), Luisa Playera (2013), grafti mural, El Tabo, Valparaiso, Chile 99 ix [email protected] x List of Figures Fig. 4 Gigi (Marjorie Peñailillo), Luisa del Bosque (2012), grafti mural, Villa Alemana, Chile 100 Fig. 5 Inti, untitled grafti mural (“Ekeko”) (2012), Bellas Artes, Santiago 103 Chapter 6 Fig. 1 Hanthalah in Amman, Beirut, Cairo, Riyadh, Bahrain, and refugee camps in Lebanon 119 Fig. 2 (a) Leila Khaled is a member of the Popular Front for the Liberation of Palestine, who became notorious as an airline hijacker in 1969. Her family fed during the 1948 Palestinian exodus. Photo by William Parry; (b) Al Mubadara (Palestinian National Initiative) is a Palestinian political party, itself a resistance to both Fatah and Hamas, led by Mustafa Barghouti. Photo by Ameer Al Qaimari 123 Fig. 3 Calligraphy in Bahrain’s villages (2007–2010) 127 Fig. 4 Pro- and anti-Assad grafti war. Visible stencil is a play on Hizballah’s logo with the phrase, “and the people will prevail.” Hamra-Beirut, Lebanon. 2013 133 Fig. 5 (L-R): “It doesn’t matter what she’s wearing, harassment is a crime,” “women are a red line,” Bahia Shehab’s “No” stencils, “you can’t break me” with face of Samira Ibrahim, “I am free” in a woman’s voice, jinsiyati campaign for women’s right to pass nationality on to children, “no matter how much it does or doesn’t show, my body is free,” “fght rape,” “no to harassment,” “I am demonstrating on July 8th,” “against the regime,” “she will not be forgotten, sitt el banat” (reference to the blue bra incident), “the uprising of women in the Arab world” logo, juxtaposition of media attention towards Aliaa Elmahdy and Samira Ibrahim, Alaa Awad’s pharaonic women mural, stencil of a woman driving, “salute to the woman fghter,” “the street is also ours,” “I support the uprising of women in the Arab world so that no child is raped in the name of marriage,” “don’t silence me,” clenched fst in female symbol, “Nefertiti” by Zeft, “I don’t have a car, I have a camel, #women2drive,” group sexual harassment,” “I am my own guardian.” 148 Chapter 7 Fig. 1 ‘Perception’, Photo Courtesy of eLSeed, 2016 164 Fig. 2 ‘Sheikh Emad Efat’ by Ammar Abo Bakr, Mohamed Mahmoud Street, Cairo, 2012. Photo, Hassan Emad Hassan 166 [email protected] List of Figures xi Fig.
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