Preventing violence through hip hop: an evolutionary perspective

ABSTRACT

For decades Hip Hop cultural practices have been disparaged for allegedly inciting and being responsible for the eruption of urban violence. This assumption, likely built upon pre-existing biases regarding the street culture and ethnic minorities where Hip Hop emerged, ignored how some of the genre’s main elements – particularly freestyle rap, breakin’ or breakdancing and graffiti tagging – initially served the purpose of providing at-risk youths with real alternatives to direct physical violence in their day-to-day lives, and continue do so today. It has also ignored broader analogies with other cross-cultural and cross-species manifestations of similar practices that have served for millennia as effective mechanisms for reducing the likelihood of potentially lethal violence. By presenting these manifestations – namely song dueling and mark making – in comparative terms with Hip Hop’s freestyle song and dance battles and tagging territorial contests, this article seeks to highlight the relevance and potential of Hip Hop for preventing violence while also suggesting a common evolutionary backdrop within the context of strategies aimed at minimizing intraspecific aggression.     

Toilets and resistance in Italian factories in the 1950s

ABSTRACT

In the literature on industrial conflict, the Italy of the 1950s is often described as marked by worker acquiescence and an absence of conflict, ensured by high unemployment and the severe repression of union activism. My research challenges this. While formal, organized collective action subsided, workers continued to show their defiance and opposition to factory authorities by means of diverse acts of individual resistance that have escaped scholarly study. Drawing on anthropological theory, particularly Scott’s notion of ‘weapons of the weak’ – the strategies used by subordinate classes when facing heavy repression or lack of resources – this article undertakes an innovative analysis of the use of insults, irreverent behaviour, rumours and mockery of foremen and bosses to undermine the authority and legitimacy of factory hierarchies. It casts new light on the protest cultures and practices of Italian workers in the 1950s and improves our understanding of post-1945 industrial conflict.     

Now wash your hands: uncommissioned art and gender

Examining the urban arts in the UK, in their paint and fibre-based alternatives, this article aims to account for the differences in contemporary dealings with graffiti and yarn-bombing (kniffiti). The intersectional complications of gender, race, age and class, as they have come to bear on the visual arts, as well as the historical power structures that have determined the classification of crime, and of art, are offered as possible rationales for present-day handling of ‘deviance’ in the form of urban art. It seems that urban knitting has blind-sighted both social conventions and legal principles in a way that exposes the arbitrary nature of both.     

Interview with AbbyTC5: a pioneering ‘HomeGirl’ in Hip-Hop herstory

Jessica N. Pabón interviews graffiti artist Abby Andrews, a.k.a. AbbyTC5, about her canvas painting Queens, the image on the front cover of the special issue.     

Thai social movements and the anti-ADB campaign

This article examines the desacralisation of royal charisma in contemporary Thailand. Over the past few years an underground discourse has emerged among critics of royal ideology and supporters of former Prime Minister Thaksin Shinawatra that directly confronts the power of the monarchy. The images, metaphors and linguistic devices used in the process are difficult to study because they rarely appear in public. This article focuses on an unprecedented demonstration of rage against the monarchy on September 19, 2010, when red-shirted demonstrators painted anti-royal graffiti on a construction hoarding at Ratchaprasong intersection in downtown Bangkok. In analysing the Thai political crisis as a battle of different charismatic groups, the article will present the September 19 event as the first open strike against the sacred charisma of the Thai monarchy. This charisma has hitherto been protected by royalists from all walks of life who were “working towards the monarchy.” With their attacks on the monarchy the red-shirts were challenging a legitimacy-conferring system which had benefited wide sections of the Bangkok populace in the past. At the same time, a competing charismatic movement has emerged around Thaksin, who himself has to take into account the charisma he conferred upon his followers.     

Recovery of Spray Paint Traces from Clothing by Beating

Manual recovery of spray paints from textiles using a microscope, the routine method in many laboratories, is often laborious. Beating the clothing with a plastic rod, the routine method used for recovery of glass traces within the authors’ laboratory, is proposed as an alternative. The efficiency of the method was evaluated by spray tests with fluorescent paint. In these tests, paint particles in the acquired debris samples, as well as those remaining on the textiles, were investigated. The results show that beating is an efficient way to recover and concentrate paint particles. A good efficiency for jeans fabric and rough knitwear is reported. The results appeared to be less satisfactory for smooth woven fabric. Application of the method in casework was effective for graffiti paints as well as for flaked car paint.     

The politics of post-conflict space: the mysterious case of missing graffiti in ‘post-troubles’ Northern Ireland

Why is there so little graffiti in Northern Ireland compared to cities in North America and Europe – including Great Britain, to which it is constitutionally connected, and Ireland, with which it is geographically connected? This question is particularly perplexing given the highly developed political mural tradition on both sides of the sectarian divide in the North, and the almost 15 years that have passed since the signing of the Peace Agreement ending some three decades of militarized conflict. This paper explores the connections between the absence of graffiti, and the street-level structures and processes of reconciliation or conflict – with a specific focus on the geopolitics of paramilitary control within communities throughout Northern Ireland. The contributions of the paper are three-fold: (1) it highlights the importance of graffiti as a (usually neglected) lens for assessing the degree to which the expected benefits of a peace agreement are experienced at the street level; (2) it addresses the methodological challenge of how to examine something that is not there (specifically, it studies the absence of graffiti in Northern Ireland by comparing it to the logic, mechanics and meanings of graffiti elsewhere); and (3) it questions the well-marketed representation of Northern Ireland as a unqualified case of successful post-agreement peace.     

Commercial graffiti: self-expression,the allure of danger,or graffiti made “pretty”?

The visual stylistic elements of graffiti are increasingly being used in the commercial world of advertising and marketing, as backdrops for music videos, and in merchandise and packaging. This market-oriented graffiti constitutes the mainstreaming of a subculture, that is, selling the stylistic subcultural elements as a new fad. Subsequently, commercial graffiti has been criticised for undermining the essence of real graffiti as the very aspect it seeks to oppose is now served, and in the process graffiti is robbed of its resistance identity. This article engages critically with this view by enquiring how Johannesburg commercial graffiti writers make sense of their commercial graffiti work. In a qualitative study, 11 commercial graffiti writers, who are engaged in small commercial contracts or who are freelancing for well-established consumer brands, and full-time graphic designers, were interviewed. Reoccurring themes that arose included self-expression and simplifying graffiti styles to be more accessible and “pretty” for general public consumption. Albeit in a different way, the recognition the graffiti writers gained from the public through their commercial work echoes some elements of the recognition gained through graffiti crews. Probably the most astounding finding of the study is that they felt that the commerciality of graffiti is simply a temporary phase that will eventually fade.     

Graffiti goes to the movies: American fictional films featuring graffiti artists/writers and themes

Since the early 1980s, in addition to the increase in graffiti and street art in many urban contexts, a number of movies have been made that have either examined this phenomenon and the people who engage in this activity, or used graffiti and street art as a backdrop to tell a story. This article briefly reviews the scholarly literature that examines movies that portray criminals and criminal actions, and then analyzes seven American-produced fictional (drama) films using graffiti writers/artists as major characters and then draws generalizations about them. Although this is not a semiotic analysis of the films, to the extent possible, it delves into the settings, plots, characters, dialog, and how realistic the movies appear to be. In general, most of the films include unrealistic aspects and/or are of poor quality, and this contributes to misrepresentations of and stereotypes about graffiti writers/writing.