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Bahia Shehab, You May Crush the Flowers, But You Cannot Delay the Spring (verse by poet Pablo Neruda), 2011. Cairo. Calligraffiti.
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The wave of uprisings known as the Arab Spring that swept over the Middle East and North Africa from December 2010 to early 2013 left its imprint on political and social life in the countries concerned. This ephemeral moment also marked a change in various forms of artistic expression. Street art, graffiti, and calligraffiti are among the most stri...
Citations
... This is similar to ephemeral art, such as pop-up exhibitions or statues made with perishable materials, which too are short-lived. Some ephemeral artists use the nonpermeance of their works to resist a market that requires permanence and draw in audiences (Naguib, 2017) and this represents a challenge to museum creators who are tasked to archive and preserve objects from the past (Levent & McRainey, 2014). A good example of such practices are pop-up exhibitions or street art that are malleable and open to destruction through their public exposure (e.g., Banksy's artwork that shredded after it was sold at an auction). ...
Digital edible literacies (DEL) are a new media phenomenon that has recently surfaced in social media but has not been examined in scholarly literature before. I exemplify the entanglements of food, media, and children's stories in three DEL exemplars shared on a private blog, Instagram, and connected Meta channels. Drawing on a genre analysis, I position DEL within affective theories and connect them to the concept of ephemeral and material affect. I argue that the ephemeral materiality of DEL expands children's literacies with new temporal relationships that exemplify the sensory dimensions of affect in literacy. This theoretical expansion is important to facilitate understandings of the complex affective qualities of new literacy ecologies.
... Other intangible aspects of heritage tend to be either overlooked or are often regarded as too difficult to address. As shown elsewhere, aural heritage, the sounds generated by, and prevalent, in the human-generated environment, tends to be under-researched [71], as is the interface between intangible aspects of heritage and tangible yet ephemeral manifestations [72,73]. Multisensory aspects of intangible cultural heritage have been largely overlooked, with emerging research in that direction exploring the nature of culinary heritage [74][75][76]. ...
Annually, there are between 2500 and 3000 Christmas markets in Germany. While purported to be rooted in century-old tradition, the current concept of the markets, shaped in the 1930s, gradually transformed from primarily mercantile operations to experiential events. The experiential dimension is a collection of visual, auditory, and olfactory components that create a compound sensory response: the 'Christmas atmosphere'. The prevalence of COVID-19 meant that traditional Christmas markets were largely absent from the festive calendar in Germany in 2020, disrupting the usual sensory experiences associated with these events. A review of the online presence showed that augmented markets and virtual reality were subsequently utilized in an attempt to recreate the experience and the ambience of the traditional markets, but had limited interactivity with many of the senses. We explore to what extent these multiple-sensory components may have been lost during the Christmas period of 2020 due to the COVID-19-induced transition from the traditional multisensory live market to a predominantly online experience, and highlight problems which arise through the documentation of such complex intangible heritage.
... The majority of the discourse on ephemeral heritage relates to manifestations of cultural heritage in the form of paper-based ephemera [106], soundscapes [20,21], events and performances [107], street art [108], modern, non-permanent materials (such as edible art) [109], temporary art installations [110] and digital ephemera [111], including digital art [112] and projections [113]. ...
The standard methodology for the assessment of cultural heritage significance relies on
hindsight, with a passage of time elapsed between the creation of the site or object and its assessment. There are, however, cases where heritage significance is instant (e.g., sites associated with the first Moon landing). This paper argues that hindsight will not be required to determine that the COVID- 19 pandemic will come to be considered as a significant historic event, as COVID-19 has already manifested itself as a social, cultural and economic disruptor on a global scale with a mortality in the millions. Heritage professionals have the unique opportunity to assess and document places and structures associated with the pandemic, that are poised to be worthy of a heritage listing in the near future, while they are still in use and function as intended. This paper discusses the nature of the sites and structures and explores possible management approaches to safeguard evidence of the pandemic for future generations
... Street Art is an artistic activity that is based on a community setting, characterized by interaction with the community and involving a professional artist collaborating with people. It referred to as "the art of the subaltern and of political protest," (Naguib 2016). Street Art encompasses various forms of visual arts created in public spaces such as graffiti and calligraffiti (Abdulaziz 2015;Arnoldi 2015;Zoghbi and Karl 2012). ...
Since ancient times, art played a significant role in
people’s life. It fulfills their spiritual needs and represents
their culture. Art is a powerful tool for shaping the spirits,
minds, morality, and emotions of people. As with any
other aspect of life, art has its periods of prosperity and
crumble. Before, public art had been represented in art
pieces displayed at museums, but then, the meaning
extended to art in outdoor spaces. The scope of this
research is public art installed in open spaces. The main
aim of the study is to shed light on the lost role of public
art in Egyptian cities in shaping the cultural and social life
to help fighting this phenomenon and reviving the role of
art in the community. The research revealed that the
absence of having a comprehensive plan that controls the
construction and installation of art pieces in open spaces
and the ignorance of the artists’ role in the community are
the most important reasons behind the problem of
randomness of art in public spaces.
... The mural in Rome was used by friends and family of Seif in a campaign to free her and other political prisoners in Egypt. 4 While Abo Bakr's work and other revolutionary Egyptian street art has been extensively covered in academic literature (see for instance Abaza, 2013, 2015b, Abdelmagid, 2013Abou-Setta, 2015;Awad and Wagoner, 2017;de Ruiter, 2015;Findlay, 2012;Hamdy, 2015;Kraidy, 2016b;Lennon, 2014;Naguib, 2017;Nicoarea, 2014;Sanders, 2012;Schielke and Winegar, 2012;Sharaf, 2015;Wagoner, 2019;Zakareviciute, 2014), the mural of Seif in Christiania has not received any specific attention. ...
This article traces the intersecting and interstitial spaces of political aesthetics in political street art featuring key activists of the Egyptian uprising of 2011–13 as well as the following struggle. We argue that the complex political expressions displayed in the images as recontextualized and embodied afford the images different roles in citizens’ political and social struggles. We develop three modalities of political street art – emplacement, travelling and conversation – that allow different works different roles in the political formation of subjectivity. In order to understand street art’s role in political subjectivity formation, this article applies visual discursive analyses to two expressions of political street art: first, the stencil of a blue bra, referring to sitt al-banat, a woman who was stripped naked in public as she was beaten unconscious by Egyptian military soldiers; second, the mural of then jailed activist Sanaa Seif in the Copenhagen borough of Christiania.
The words “collective” and “dream” together create what seems to be a disjunctive term, because one can only dream individually whether in wakefulness or sleep. Dreaming is an internal experience specific to an individual, through which one cannot access the oneiric imagination of someone else or share its content. However, if this term is examined in view of revolutionary moments in which people can only imagine an individual dream when it is tied to a collective one—one that involves uprooting an entire social order—then the term collective dream may not seem as disjunctive anymore. It actually becomes a recognizable reality for those who have dreamt together intensely of better lives.The collective dream is about sharing an attachment to forms of a better life yet-to-come, and sharing a belief in that better life which is enacted through the act of dreaming together. The question then becomes: what is it that people dream of collectively? “Dreaming together” is a form of attachment to concrete things, but also to abstract ones. The anticolonial, socialist project of Nasser corresponded to a desire for social justice, liberating Egyptian land from colonial powers, and creating an independent economy. The Revolution of the 25th of January 2011 was born out of deteriorating economic conditions, corruption, police brutality, and the despotism of Mubarak’s regime. However, there is also the less accessible aspect of collective dreaming (albeit one inseparable from its more concrete infrastructure); a yearning for a sense of capacity, to feel the possibility of determining the content of one’s life and shaping its trajectories (even if this never fully occurs, but it is a desire to feel the capacity to do so). This material vs. abstract—or tangible vs. intangible—dynamic of the collective dream is elaborated on in the following section.
Durant la révolution, un art contestataire s’est déployé dans les espaces urbains du Caire, en particulier dans le centre-ville. Contribuant à la politisation et à la conflictualité dans les espaces publics, ces œuvres et événements artistiques révolutionnaires sont remis en cause depuis 2013 à la suite d’un renforcement de l’autoritarisme avec une augmentation de la répression des opposants politiques et de la sécurisation dans le centre-ville. Le régime autoritaire cherche à asseoir son hégémonie sur les espaces physiques et à monopoliser l’image dans et de la ville menaçant le droit à la ville et à la centralité pour certains artistes qui ne peuvent plus produire d’images ou d’événements alternatifs à ceux du régime. Le maintien d’un art passe alors par des adaptations qui favorisent des acteurs privés ayant des ressources financières et participant à un centre-ville gentrifié, pacifié et contrôlé.
Batik merupakan budaya yang berasal dari rakyat dan selalu berkembang mengikuti zaman dan lingkungan. Pengembangan dari perancangan batik dilakukan untuk membuka kemungkinan-kemungkinan baru ke arah yang lebih luas lagi, dengan eksplorasi visual dan berani menerobos batasan-batasan batik konvensional. Tujuan dari perancangan batik ini adalah menghasilkan variasi produk batik tulis yang ditujukan untuk wanita usia 19- 25 tahun. Metode yang digunakan terdiri dari metode perancangan dengan teori Collin Clipson, konsep perancangan, dan visualisasi. Seluruh rancangan desain memanfaatkan visual graffiti menjadi motif utama. Visual graffiti menjadikan batik yang dikembangkan unik, karena tidak hanya sebagai bentuk ekspresi seni, graffiti juga digunakan sebagai media komunikasi. Kata atau kalimat yang diolah menjadi graffiti menggunakan tema streetfood yang ada di Indonesia. Pengolahan nama streetfood Indonesia yang dieksplor menjadi graffiti diambil sebagai simbol budaya populer yang ada di Indonesia dengan tetap mempertahankan nilai tradisi pada batik itu sendiri. Hasil dari perancangan ini adalah produk berupa kain batik dan busana ready-to-wear. Kata Kunci: batik tulis, graffiti, streetfood BATIK TULIS DESIGN USING VISUAL GRAFFITI Abstract Batik is a people-based culture that evolves with the times and the surroundings. By aesthetic research and daring to push the limitations of conventional batik, the evolution of batik design aims to offer new possibilities in a larger direction. This batik design intends to provide a variety of written batik products aimed at women between 19 and 25. The design process employed combines Collin Clipson theory, design concepts, and visualization. Each design incorporates visual graffiti as the primary motif. Visual graffiti distinguishes developed batik from others, as graffiti is utilized as a means of communication in addition to aesthetic expression. Words or statements that have been transformed into graffiti use the theme of Indonesian street food. The transformation of Indonesian street food names into graffiti serves as a sign of popular culture in Indonesia while preserving the traditional value of batik. The results of this design are batik cloth and ready-to-wear clothing. Keywords: batik tulis, graffiti, streetfood
