The street art of resistance
Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
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The street art of resistance. / Awad, Sarah H.; Wagoner, Brady; Glaveanu, Vlad.
Resistance in Everyday Life: Constructing Cultural Experiences. ed. / N. Chaudhary; P. Hviid; G. Marsico; J.W. Villadsen. Springer, 2017. p. 161-180.Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
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TY - CHAP
T1 - The street art of resistance
AU - Awad, Sarah H.
AU - Wagoner, Brady
AU - Glaveanu, Vlad
N1 - Publisher Copyright: © Springer Nature Singapore Pte Ltd. 2017. All rights are reserved.
PY - 2017/1/1
Y1 - 2017/1/1
N2 - This chapter focuses on the interrelation between resistance, novelty and social change. We will consider resistance as both a social and individual phenomenon, as a constructive process that articulates continuity and change and as an act oriented towards an imagined future of different communities. In this account, resistance is thus a creative act having its own dynamic and, most of all, aesthetic dimension. In fact, it is one such visibly artistic form of resistance that will be considered here, the case of street art as a tool of social protest and revolution in Egypt. Street art is commonly defined in sharp contrast with high or fine art because of its collective nature, anonymity, its different kind of aesthetics and most of all its disruptive, "anti-social" outcomes. With the use of illustrations, we will argue here that street art is prototypical of a creative form of resistance, situated between revolutionary "artists" and their audiences, which includes both authorities and society at large. Furthermore, strategies of resistance will be shown to develop through time, as opposing social actors respond to one another's tactics. This tension between actors is generative of new actions and strategies of resistance.
AB - This chapter focuses on the interrelation between resistance, novelty and social change. We will consider resistance as both a social and individual phenomenon, as a constructive process that articulates continuity and change and as an act oriented towards an imagined future of different communities. In this account, resistance is thus a creative act having its own dynamic and, most of all, aesthetic dimension. In fact, it is one such visibly artistic form of resistance that will be considered here, the case of street art as a tool of social protest and revolution in Egypt. Street art is commonly defined in sharp contrast with high or fine art because of its collective nature, anonymity, its different kind of aesthetics and most of all its disruptive, "anti-social" outcomes. With the use of illustrations, we will argue here that street art is prototypical of a creative form of resistance, situated between revolutionary "artists" and their audiences, which includes both authorities and society at large. Furthermore, strategies of resistance will be shown to develop through time, as opposing social actors respond to one another's tactics. This tension between actors is generative of new actions and strategies of resistance.
KW - Egypt
KW - Graffiti
KW - Resistance
KW - Revolution
KW - Social change
KW - Street art
UR - http://www.scopus.com/inward/record.url?scp=85041319191&partnerID=8YFLogxK
U2 - 10.1007/978-981-10-3581-4_13
DO - 10.1007/978-981-10-3581-4_13
M3 - Book chapter
AN - SCOPUS:85041319191
SN - 9789811035807
SP - 161
EP - 180
BT - Resistance in Everyday Life
A2 - Chaudhary, N.
A2 - Hviid, P.
A2 - Marsico, G.
A2 - Villadsen, J.W.
PB - Springer
ER -
ID: 355141183