Graffiti | A Prospective Study On Communication Through
Urban Walls | Graffiti On Urban Walls|Modern Graffiti :
Urban Walls | Graffiti On Urban Walls|Modern Graffiti :
ABSTRACT
Graffiti art can be used as a powerful weapon in order to raise awareness about social and political situations to the people.
When the information is available, people consume it easily and Graffiti art is playing a significant role in this matter as it helps in transmitting the messages.
As graffiti breathe life into the walls of a city, community dialogue is sparked as people begin to ask questions, the works of graffiti on the walls become the voices of these people and ask questions to the existing authorities.
The work of graffiti artists is to communicate messages through relevant themes according to the esthetic values without being imprisoned by them.
However, the aesthetic values of graffiti remain in the representation of the impact of its message.
Through graffiti, a message can be communicated effectively and effortlessly to the people.
Graffiti has forced the passerby to see these works of art on the walls and making them aware of the presence of graffiti and encouraging them to express their views about an active underground resistance movement.
These walls become a projection of the artists’ collective and individual voice of resistance and protest.
This paper is an attempt to analyze the role of graffiti art through various structures of consciousness, to demonstrate the further development and influence this art form reflects on social, political, and present art scenarios.
OBJECTIVES:
To explore the role of graffiti art as a medium to communicate massage to raise awareness about social and political situations among the people. To study the impact of graffiti art on the present scenario in India.
SUB THEME:
The role of art in social and environmental awareness.
Introduction:
Graffiti has been a ways of liaison for thousands of years in variegated ways and styles. Broadly speaking, graffiti denotes the variety of words, figures, and symbols illicitly inscribed in public space.
Over the past three decades this miracle has taken on special salience as the graffiti of youth sub-cultures has emerged as a pervasive form of public communication.
Because of this, graffiti has wilt perhaps the most potent and visible symbol of misconduct and danger, with political authorities and the public regularly associating public graffiti with gang activity.
In reality, the trendy role of graffiti as a form of public communication, and as a talky component within youthful sub-cultures, is far increasingly ramified than a simple equating of graffiti and gangs.
As street-level alternatives to gang life and gang conflict, hip hop music, dance, and graffiti offered new media for contesting identity and acquiring status (Youth Culture).
Then as now, hip hop graffiti “writers” and their “crews” wrote their “tags” (nicknames) in places of public visibility.
What is unique well-nigh this type of graffiti is the introduction of the individual tag, the signature, of the writer.
However, the fact that the tag was a name is not so original. Graffiti from the warmed-over world contained all kinds of messages, including names of the people who wrote it.
Of undertow variegated motivation is in place for one or flipside type of graffiti, but the vital principle remained the same – marking a suitable surface to record one’s presence.
Despite its controversy, graffiti has the worthiness to disseminate many messages. The debate on whether graffiti is an urban art form or a nonsensical act of vandalism has been taking place for several decades now.
While some individuals consider it to be synonymous with destruction of property, others oppose that it is the focal point of the modern street art movement.
Either way, graffiti has existed since prehistoric times and offers some insight into past and present cultures. From the Neolithic age to the present, people have been creating works of art in public spaces.
Graffiti and urban life:
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| graffiti by Banksy |
The municipality plays a crucial role in the megados and proliferation of graffiti, for it is usually only in urban areas that one can find graffiti.
It originated in the ultimate city, New York, and was transmitted through popular media to other cities virtually the globe.
And yet, despite the far-flung reach of its methods and practice, graffiti is not a parochial phenomenon. It is based in cities, and practiced by those who live in them.
While there are a few instances of graffiti making its presence felt in non-urban areas, the overwhelming majority of graffiti is found in cities and their firsthand suburbs.
The serviceability of the art form contributes to its power, and, as stated by English street versifier Banksy, it is “graffiti that ultimately wins out considering it becomes part of your city, it’s a tool.
A wall is a very big weapon,” he says, “It’s one of the nastiest things you can hit someone with.”
Modern graffiti has wilted a universal urban phenomenon, an scrutinizingly ubiquitous full-length of towns and cities wideness the world, bridging time and space as well as crossing cultural divides.
The popularity and spread of graffiti have led to an increasing academic, originative, and practitioner literature on graffiti that covers a range of issues, perspectives, and approaches (identity, youth, subculture, gender, anti-social behavior, vandalism, gangs, territoriality, policing and crime, urban art, aesthetics, commodification, etc.).
What they all have worldwide is an acknowledgment of graffiti as a quintessential urban phenomenon, one that is found everywhere within the overly expanding urban world of globalization.
Graffiti and communication:
Most of the time when we encounter art and are transported by it to other worlds, we are in a location in which we expect this to happen.
However, this is not the specimen with graffiti and street art. For it appears suddenly and in unexpected places.
Thus, when we sneeze it, we are transported to these other worlds at a time and in a place that we are not yawner to doing so.
Stowers goes on to mention in his essay that the art as ‘writing’ is a “creative method of communicating with other writers and the unstipulated public…the artist’s identity, expression, and ideas.” This type of liaison is vital considering of its worthiness to link “people together regardless of cultural, lingual, or racial differences in ways that nothing else can.”
In his typesetting Political Protest and Street Art: Popular Tools for Democratization in Hispanic Countries, Lyman Chaffee explores the complexities of liaison and the variety of ways information is transmitted.
He mentions that liaison systems are created for the wage of “governments, organizations, and individuals to present their views, demands, needs, and ideas”.
How these liaison systems take shape in a given society is based on history, cultural conditions, and the type of political system currently in place.
Oftentimes, the spritz of information “originates from unelevated by grass-roots groups,” and this is weightier exemplified by “politicized street art and graphics”.
Because of the universal nature of street art, it can be recognized as a medium for mass liaison as it provides a voice for those who “otherwise could not scuttlebutt upon or support current or perceived social problems”.
Chaffee mentions that the art form can “shape and move human emotions and gauge political sentiments” Because “language and visual symbols help shape perception,” the “clichés, slogans, and symbols—the substance of political rhetoric” that are communicated by street art “help to mobilize the people” The art form “breaks the conspiracy of silence,” claims Chaffee: Like the press, one role of street art is to form social consciousness.
In sundowner systems where outlets for self-ruling expression are limited, it is one of the few gauges of political sentiment.
In increasingly unshut systems, street art enables various entities to lobby for their interests. Street art, in essence, connotes a decentralized, democratic form in which there is universal access, and the real tenancy over messages comes from the social producers.
People have the desire to communicate with others in their local zone through their own creative means.
Some people may yell and scream at the top of their lungs for attention, while other people prefer to leave notes for others to discover in interesting places.
Either way, people have a need to let other people know that they exist in this world too, and that they do not want to be ignored. Communication can moreover make people finger like they are a part of this community, whether they vamp negative reactions or not.
Many people like to use artistry to communicate their thoughts, where other people enjoy trying to paint visual pictures with words.
Some may have a tweedle on their shoulder (such as someone who had a run-in with in the cops), while others may want to express as much love as they can for other people (such as the highly religious types).
Some people use legal ways to communicate with other people, while other people use the opposite, illegal means.
Many people do graffiti and there is no ‘typical’ profile for a person who does graffiti. Although most graffiti is washed up by teenagers, however, that may not be the specimen each time.
These persons can be from stable backgrounds, with loving families and good social networks as well as from unstable backgrounds with wrenched homes or single-parent families.
Graffiti may the output for diverse reasons. For some persons it is a political statement, for others, it is a form of originative expression and for some, it could a form of power display.
For some it is well-nigh seeking individual identity, for others, it is well-nigh seeking visa within a group.
At the same time graffiti has had a profound influence on the visual vernacular of many other practices such as music, mucosa, and fashion.
The view of municipal authorities towards graffiti is unmistakably evident and has been for decades, through numerous campaigns aimed at diminishing the practice.
On the surface, so to speak, this negative publicity is the easiest thing to connect to for the public that unquestionably has to view the graffiti on a daily basis.
Certainly, the issue is much increasingly ramified than what appears on the surface. The graffiti scene itself is not a homogeneous entity and exhibits estranged opinion from within towards what graffiti is.
Who, having to siphon on the wearying task of filtering and deciphering the unvarying spritz of data, are rhadamanthine harder and harder to alimony interested. In the broadest sense, this data includes digital and traditional media and just happens in everyday environments.
Graffiti and street art have unchangingly had a history of stuff influenced by political and social issues; a lot of people who may have felt powerless took this art form and turned it into a form of unrecognized political protest.
Having this worthiness is extremely powerful, as it can make the versifier’s finger heard and indulge them to Rencontre society’s thinking patterns, which could lead to change.
Conclusion:
We all experiment with variegated ways to communicate, and we will never seem to want to settle with one strict kind of liaison in any particular point in our lifetime.
Our styles and ways to communicate evolve in ourselves through our own lifetime.
We notice that younger people are repeating what older people have once done, but that is what is necessary for the younger people to evolve as well.
Graffiti needs to be reliable to continue, but in ways that help build the municipality and not destroy it.
Graffiti moreover has the power to make people happy. It adds weft and a story to what would otherwise just be unrewarding and grey. Art reminds people to finger alive. Art has the worthiness to inspire and motivate.
Banksy reminds us how graffiti is simply a flipside tool for liaison in saying, “Graffiti is one of the few tools you have if you have scrutinizingly nothing. And plane if you don’t come up with a picture to cure world poverty you can make someone smile while they’re having a piss.”
Banksy’s quote highlights the positive side of graffiti and why the art of graffiti should be validated.
Graffiti has the potential to encourage diversity, bring colour to dreary places, and indulge individuals to express themselves artistically and make political statements.
