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Street Art and Mural Art As Visual Activism in Durban: 2014 – 2017

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Street Art and Mural Art As Visual Activism in Durban: 2014 – 2017 Street Art and Mural Art as Visual Activism in Durban: 2014 – 2017 A dissertation submitted in fulfilment of the requirement for the degree of MASTERS OF TECHNOLOGY IN FINE ART Of Durban University of Technology Daniel Chapman March 2019 Supervisors: Dr. John Roome and Ismail Farouk 1 Declaration Street Art and Mural Art as Visual Activism:2014-2017 Dissertation submitted in partial fulfilment of the requirements for the degree of Master in Fine Art at the Faculty of Arts and Design, Durban University of Technology. I declare that this dissertation is my own work and has not been submitted for any other degree or examination at any other institution. Daniel Chapman Durban March 2019 Signed: ___________________________ Date: _______________________ Approved for final submission: Signed: ___________________________ Date: _______________________ Supervisor: Dr. John Roome Signed: ___________________________ Date: _______________________ Co- supervisor: Mr. Ismail Farouk 2 Abstract This research presents the theories pertaining to the real and imagined role of street art and mural art in current society, focusing on South Africa and Durban. This research also aims to improve my art practice by attempting to apply these theories. By investigating selected activist street and mural artists and movements, I have also aimed at learning from the work of those I admire. By extending my research beyond public two-dimensional art practice into the theories of African cities, cultural studies and white privilege, I have attempted to understand the socio-political factors involved in critical art making in the highly contested post-apartheid public space of Durban. I have discovered that my own belief in the value of street art and mural art in the public space, which this research aims to validate, does not appear to be encouraged or supported within the city of Durban, at large, which is reflected in a stunted street art and mural art culture. Within the context of post-apartheid Durban, a South African city in rapid transition environmentally, socially, economically and culturally, I would like to present street art and mural art as a pragmatic and effective means of cultural response. In this research a practice-based qualitative methodology was used. This is accompanied by theoretical research to contextualize and inform the art practice. The action research comprised of artwork produced in public spaces. Typically, this process involved identifying an ecological/social/political issue which is the artwork’s subject. The combination of practice- based and action research is the most suitable methodological approach for this study which essentially attempts to uncover knowledge pertaining to the function of mural art and street art in the world, more specifically in Durban. My findings show that the foremost function of street art and mural art appears to be the transformation of the public space into a more convivial living environment. The major strategies identified in the theoretical framework in attempting to initiate conviviality through street and mural art include site specificity and participation. Despite a history of attempting to democratize art in South Africa, post-apartheid contemporary society still suffers as a result of restricting the functionality of art by continuing to focus predominantly on the gallery and museum systems. I have found that mural and street art potentially align with the informal functioning of much of South Africa’s public space, encouraging an alternative to the western construction of public space. In conclusion, I argue that street art and mural art can be used as an effective transformative strategy to break down the invisible social barriers present in post-apartheid South African cities, by repurposing the physical barriers of walls. 3 Table of Contents Declaration…………………………………………………………………………………………………………….II Abstract………………………………………………………………………………………………………………….III Table of Contents…………………………………………………………………………………………………..IV List of Illustrations………………………………………………………………………………………………….VI Acknowledgements……………………………………………………………………………………………….X Preface…………………………………………………………………………………………………………………..XI Introduction…………………………………………………………………………………………………………..1 Background to the Study………………………………………………………………………………………………….….…1 The Research Problem and Conceptual Framework…………………………………………………………….…2 Aims and Objectives……………………………………………………………………………………………………………...2 Research Questions………………………………………………………………………………………………………….……3 Context of the Research…………………………………………………………………………………………..……….…..3 Rationale and Motivation…………………………………………………………………………………………..……….…3 Methodology…………………………………………………………………………………………………………………..…….4 Delimitations………………………………………………………………………………………………………………….….….6 Outline of Chapters……………………………………………………………………………………………………….….…..6 Chapter One: Mural Art and Street Art as Visual Activism – Theoretical Framework and Literature Review……………………………………………………………………………………………………….9 Introduction……………………………………………………………………………………………………………………..…………9 Working Definitions of Street Art, Mural Art and Visual Activism…………………………………………..……9 The Emotional, Psychological and Social Value of Art………………………………………………………….…….12 Public Art as Activism……………………………………………………………………………………………………..…………14 4 Street Art and Mural Art in Opposition to Capitalism…………………………………………………………...…..16 Street Art and Mural Art in Opposition to Advertising…………………………………………………………..…..17 Street Art and Mural Art as an Alternative to Mainstream Cultural Outlets………………………………………18 Street Art, Mural Art and Public Space in an African City…………………………………………………………………..20 White Privilege………………………………………………………………………………………………………………………………….23 Public Art and Participation……………………………………………………………………………………………………………….25 Site Specificity……………………………………………………………………………………………………………………………………29 The Communicative Power of Mural Art and Street Art…………………………………………………………………….31 Conclusion…………………………………………………………………………………………………………………………………………34 Chapter Two: The Shifting Functions of Mural Art and Street Art – Literature review, historic and geographic context ……………………………………………………………………………………………………36 Art as Survival in Southern African San Rock Art…………………………………………………………………………………36 Socially Active Mexican Muralism ………………………………………………………………………………………………………39 South African Visual Activism ……………………………………………………………………………………………………………..42 South African Muralism as Activism…………………………………………………………………………………………………….44 Aggressive Graffiti as a Precursor to Street Art……………………………………………………………………………………46 Street Art as Social Action……………………………………………………………………………………………………………………47 From Subversion to Gentrification……………………………………………………………………………………………………….49 Conclusion……………………………………………………………………………………………………………………………………………50 Chapter Three: Visual Activism: Faith 47’s Murals in Durban’s Warwick Junction and the Street Art and Mural Art of the 2011 Egyptian Revolution…………………………………………………………….…..52 Faith47’s Mural Project in Warwick Junction, Durban………………………………………………………………………...53 The Street Art and Mural Art of the 2011 Egyptian Revolution …………………………………………………………..60 Conclusion…………………………………………………………………………………………………………………………………………..67 Chapter Four – Street Art and Mural Art as Visual Activism in My Art Practice………………..69 5 Dissidence in Nature……………………………………………………………………………………………………….69 The Strangler Fig………………………………………………………………………………………………………………….…………….72 Cape Town’s Baboons…………………………………………………………………………………………………………….………….74 Racialized Baboons …………………………………………………………………………………………………………………….……..78 Still Free…………………………………………………………………………………………………………………………………….…….…82 Mamboosh…………………………………………………………………………………………………….………………………….……….85 Interconnections……………………………………………………………………………………….………………..…….91 Interdependence…………………………………………………………………………………………………………………….………….93 The World of Stowawayz……………………………………………………………………………………..…………………..…………95 Portraits of Street Artists by Street Artists………………………………………………………………………………..…..…..103 Birdbath………………………………………………………………………………………………………………………………………..……109 Conclusion……………………………………………………………………………………………………………….……………….………..115 Conclusion………………………………………………………………………………………………………………….…….117 Appendices………………………………………………………………………………………………………………….……120 Appendix A – Letter of Information……………………………………………………………………………………………..……..120 Appendix B – Letter of information isiZulu…………………………………………………………………………………..…..…123 Appendix C - Mural Authorization and Release……………………………………………………………………………..…….127 List of References…………………………………………………………………………………………………………………………128 6 List of Illustrations Figure 1 – Arnstein, A. 1969. Arnstein’s Ladder of Participation. Figure 2 – Faith47, 2014, Sea Power, Acrylic and Spray Paint, Durban. Photograph by Luca Barouse. Figure 3 – Faith47, 2014, Mr Singh, Acrylic and Spray Paint, Durban. Photograph by Faith47. Figure 4 – Faith47, 2014, Ma Dlamini, Acrylic and Spray Paint, Durban. Photograph by Kierran Allen. Figure 5 – Military police beat protestors near Tahrir Square, 20 November 2011. Photograph by Mostafa Sheshtawy. Figure 6 – Ammar Abo Bakr in action, September 2012, Mohamed Mahmoud Street. Photograph by Hassan Emad Hassan. Figure 7 – Ganzeer, March 2011, Martyr Islam Raafat, 18 years old, Stencil, Acrylic and Spray Paint, Midan Falaki. Figure 8 – Alaa Awad, 2012, Mural of the Wailing Woman, Acrylic, Mohamed Mahmoud Street, Cairo. Figure 9 – Mook Lion, Tyran Roy, 2014, Strangler Fig, Spray Paint and Acrylic, Bulwer Road, Glenwood, Durban. Figure 10 – Mook Lion, 2015, Baboons #1, Acrylic and Wheat Paste, Kloof street, Cape Town. Figure 11 – Mook Lion, 2015, Baboons #1, Acrylic and
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