Oakland’s Urban Hieroglyphics: 21st Century African American, Latino, and Asian Youth Scribes of Oakland’s Graffiti Culture A Thesis submitted to the faculty of San Francisco State University In partial fulfillment of the requirements for _ the Degree 20 (S' ETW5T Masters of Arts * In Ethnic Studies by Jonathan Brumfield San Francisco, California May 2015 Copyright by Jonathan brumfield 2015 CERTIFICATION OF APPROVAL I certify that I have read “Oakland’s Urban Hieroglyphics: 21st Century Affikan American, Latino, and Asian youth scribes of Oakland’s graffiti culture.” by Jonathan Brumfield, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Masters of Arts in Ethnic Studies at San Francisco State University. Serie McDougal, Ph.D Associate Professor Oakland’s Urban Hieroglyphics: 21st Century Afrikan American, Latino, and Asian Youth Scribes of Oakland’s Graffiti Culture. Jonathan Brumfield San Francisco, California 2015 Abstract: Using participatory action research with qualitative analysis, this study will examine the perceptions, exposure, and impact “graffiti” has on todays urban African American, Latino, and Asian youth in Oakland California. The problems this study seeks to address are the impact of legislation concerning graffiti by city officials and law enforcement as well as how the dominant narratives written on the subject are having an impact on youth of color. Young people have expressed their concerns for the absence and misrepresentation of culture within the local movement, specifically African American presence. The aim of this research is to promote the transformative aspects of writing culture from the youth of color who are creating it by providing their perceptions, their exposure, access, and the impact of “writing” on their lives. I certify that die Abstract is a correct representation of the content of this Thesis. ACKNOWLEDGEMENTS I would like to acknowledge the youth in writing culture today worldwide. I give thanks for the lne collective, all Oakland writing crews involved, Safe Passages, Downey Academy, Aerosoul(Oakland) and the TMT(NYC) crew for blessing me with their insight and time during this project. I want to acknowledge professors Shawn Genwright, Serie McDougal, and Dawn-Elissa Fischer for supporting me through my journey writing this thesis. Special thanks to North Star Zulu Nation for the support and guidance. Thank you Skeme TMT for granting me permission to use your words of truth. Rest In Paradise to Stay High 149, and Kase 2, King Of Style. This one is for all of those who lost their lives to the social toxins that spawned a global movement. Hotep. TABLE OF CONTENTS List of Photos......................................................................................................................vi-vii Introduction................................................................................................................................ 1 Personal Interest........................................................................................................ 2 Justification...............................................................................................................4 Gaps In Research.......................................................................................................7 Prior Research........................................................................................................... 9 Research Design....................................................................................................... 11 Literature Review................................................................................................................. 13 Methodology.........................................................................................................................25 Data & Findings....................................................................................................................39 Perception..................................................................................................................41 Impact........................................................................................................................59 Access........................................................................................................................76 Conclusion..............................................................................................................................90 Reference 103 LIST OF PHOTOS Photos Page 1. Africa 2 Aztlan.................................................................................................... 46 2. When We Know.................................................................................................. 48 3. Hiphop Culture......................................................................................................51 4. One Earth............................................................................................................... 53 5. Hiphop Aesthetics................................................................................................. 57 6. Our Fruitvale...........................................................................................................61 7. Hiphop Restorative Justice.....................................................................................63 8. Grown From Concrete............................................................................................ 73 9. Everyday Is Mother’s Day(El)...............................................................................78 10. Everyday Is Mother’s Day(E2).............................................................................. 79 11. Self Determination...................................................................................................84 12. Build With The Elders............................................................................................ 88 13. Black Life Means Something..................................................................................90 14. The Earth’s............................................................................................................... 94 15. Each One Teach One.............................................................................................. 95 LIST OF PHOTOS CONTINUED Photos Page 16. Elev8 Oakland................................................................................................100 17. Aerosoul: Africa 2 Aztlan............................................................................ 102 18. Oakland Is Proud Tribute.............................................................................106 19. Dream Justice................................................................................................110 20. We Are Writers............................................................................................ 112 21. Let’s Uplift Oakland..................................................................................... 115 vii 1 “Nah it’s not a matter if they know who I am ...It’s a matter of bombing. Knowing that I can do it. Every time I get in a train, almost everyday I see my name. I say ‘yeah you know it I was there, I bombed it’. It’s for me; it’s not for nobody else to see. I don’t care bout anybody else seeing it, or the fact if they can read it or not. It’s for me and other graffiti writers, that we can read it. All these other people that don’t write, they are excluded! I don’t care about them. They don’t matter to me. It’s for us!” Skeme, Style Wars Introduction The quote above comes from a legendary “graffiti” writer named Skeme. His statement was made in a cult genre film called “Style Wars” in 1982, and his words became one of the most quoted scenes young people in writing culture can recite verbatim. The impact of what Skeme defined as writing culture has remained true over thirty years later and lends to the current perception the youth have today on being “writers”.( Cohort B, personal communication, January, 2015). Since 2007,1 have been using the principles and skill sets within writing culture to reengage youth of color with their public schools and communities through “urban arts” programming (Safe Passages, 2007). The researchers role in documenting “graffiti” 2 has always been an ethical and critical aspect for writers who participate in the craft. Writers have expressed extreme disdain for researchers who leave out the voice and or culture of the artists, biasing the actual artwork with inconsistent critique (Miller,2001;Phase2 & Schmidlapp,1996). My own investment in this research is to showcase the use of writing culture as a form of self-determination for today’s youth of color within public schools and community spaces. Through after school programs, elective courses in high schools, and urban arts as restorative justice at alternative schools, curriculum has been created with the direction and interest of youth of color writing in Oakland (Safe Passages, 2014). Most sociological studies suggest that “graffiti” is a criminal act of vandalism centered on narcissistic attempts by adults and adolescents to acquire street credibility or “fame”, as “writers” like to say (Kramer,2006;Keizer,lindberg & Steg,2008).). Many scholars as well as the general public, refer to the art form not as art but as “graffiti”(Castlemen, 1982;Chalfant & Cooper 1982;Chalfant & Prigoff, 1986;Oakland Tribune, 2014;SF Weekly, 2014).Since