Berlin Honors Study Abroad: CERP revision / final

ETA: I came across this quote, while reading Arabic Graffiti, and it felt like it summed up what I’m interested in pretty clearly, particularly in regard to reclaiming public spaces. In addition to looking specifically at the role of urban art and graffiti in issues of Arabic migration and refugees in Berlin (and the world.)

When the counterrevolution finally caught up with the events and rolled it’s tanks into Tahir Square in downtown Cairo, the tanks were already covered with anti-government graffiti. Protestors in countries all around the region tried to reclaim their public spaces with chants, stones, and firebombs. The people’s long-held grievances were bursting, as if from an open pressure valve, in slogans, songs and writing on the walls. Arabic graffiti, which the Egyptians later called the “Ministry of the Propaganda of the Revolution,” had entered a new dimension.” (Zoghbi, Pascal, Stone, and Hawley, 4).

  • Zoghbi, Pascal, Stone, and Joy Hawley. Arabic graffiti = Ghirāfītī ʻArabīyah. Berlin: From Here to Fame, 2013. Print.

ABSTRACT

Urban spaces consist of several layers and unique spaces juxtaposed with each other. Within the city exist several heterotopias (as described by Foucault) – spaces of “other” existing alongside and within other spaces (such as museums, gardens, prisons, malls, housing developments, etc). What we call “development” and “urban planning” obscures many of the layers within, making less clear the struggles and issues facing those that live within the spaces – people such as the homeless populations, the less privileged, and immigrants and refugees. It is possible for those who live in the privileged spaces to move throughout the urban space completely unaware or choosing to ignore these issues. (In many ways, development seems to seek to erase these layers and to exclude these people entirely – particulary when it comes to “public space activation” and creation of “heterotopias” of privileged space.)  In both Seattle and Berlin – two cities themselves with a history of grassroots activism and struggle over “space”, now seen as two rising, global cities developing  rapidly – one, a self declared “sanctuary city”, the other a city determined to manage the refugee crisis, the disparity seems even greater. Under these conditions, urban art and graffiti seek to make visible these “other layers”, breaking down the walls of heterotopias of privilege and making it impossible to ignore these underlying issues. Though graffiti comes in all languages, I am specifically interested in Arabic graffiti (or how Arabic may blend with other languages, such as German) and the linguistic landscape of these spaces. Arabic is a language that, unfortunately, in these political times, is viewed and heard suspiciously by many. The Arabic language has been used against it’s natives speakers in many realms and is pivotal in power struggles (such as in Israel.) In some Arabic countries, communication to the outside world (Twitter, Internet, etc) has been shut off during revolutions to stifle the voices of those revolting. Graffiti is a way to fight against this type of censorship – graffiti can not be “turned off”. Graffiti and urban art can be painted over, the walls can be torn down but the same messages can easily rise over and over again. Graffiti is a shared language of revolution.

BACKGROUND

I first learned of the idea of cities within cities and Foucault’s concept of “Heterotopia” in a class called “City of the Future” in Autumn 2015. In this class, we examined different aspects of “future cities” and development (within Seattle itself and around the world). Among all aspects of “development” we also examined the darker side – rising rent and home prices, gentrification, the human cost of “eco friendly” and sustainability. We read China Mielville’s City and the City which made me consider the idea that, within the shared space of a city such as Seattle (or Berlin, or insert any other “global” city of your choice), there exists different realities, layers, and “heterotopias” and inhabitants can “unsee” parts of a city. I see that what we call urban planning,  public space activation, and development are slowly erasing these layers and attempting to create one homogeneous space (or the illusion of). Add to this a tumultuous political climate in which groups of people actually do want entire groups of people (refugees, immigrants, homeless, etc)  to be removed from the space, to stifle diversity and the hope of a truly multicultural environment.

In looking at these topics, I became particularly interested in the concept of “public space activation” and the difference between “sanctioned” activation (via city planning) and grassroots activation (such as urban art.) When we use the word “urban art” it is sometimes looked upon favorably but “graffiti” is rarely seen in a positive light. I believe that graffiti IS urban art, and grassroots public space activation areas are ways of making all the layers of a city visible, of forcing those in the more “developed” city to see and reckon with these other layers. I previously wrote a paper about heterotopias and politics of space in which I argued that some forms of heterotopias (to be further defined in my final project) are created (as in sanctioned public space activation) to create complacency and to keep people from seeing the “real” city and all the spaces around them; some heterotopias are meant to erase the reality that exists surrounding them. I believe that graffiti and urban art are subversive, they force us to reckon with and remember what is around us.

Lastly, I am a linguaphile and a polyglot who is always eager to learn new languages – whether just words and phrases or years of study. Many many years ago, I had wanted to learn Arabic but was overwhelmed by the complications and number of dialects. On a whim, I decided to register for MSA (Modern Standard Arabic) for my foreign language requirement, rather than take placement tests for Spanish (which I’ve already studied). Though I consider myself well traveled and well versed in cultural concepts, I really feel like Arabic has opened up an entirely new world and way of thinking for me. When I first started learning, I thought it would just be a cool & fun thing to do, but over the course of a year, I have fallen in love with the language and fascinated with the politics surrounding it (both within Arabic countries themselves and in the rest of the world). As I begun to refine this project, I learned of some amazing and beautiful projects in regard to Arabic art and graffit.

Graffiti and urban art are important for so many reasons. As stated above, development in major cities makes it easy to live our lives unaware or simply “unseeing” the world around us. We can choose to ignore the rest of the world, to ignore the plight of immigrants, to pretend there are no refugees or homeless. Graffiti / urban art make things visible – they make people, groups of people, and politics visible. It also gives voice to those who may otherwise have no way to communicate (such as in countries where governments attempt to control the internet and access to the outside world. In Arabic Graffiti, it’s said that graffiti started many revolutions.) Graffiti, like all art, is a way to make your mark in the world and to stake your place. With the rise of Arabic graffit in Berlin, it’s a way to say “we are here.”

QUESTION

My overall question is, “What is Arabic Graffiti telling us, what does it want us to think about?” By this I mean, what are the themes that it’s contending with, how do the messages of graffiti compare or contrast with what we think we know about immigrants and refugees in Berlin.

CULTURAL SENSITIVITY

In terms of “bias”, I think that I am only heavily biased towards the idea of graffiti and I am definitely sympathetic to immigrants and refugees, and to Arabic speakers. Because I am biased to the rebellious nature of graffiti, I realize I’ll need to not read meaning into everything for the sole purpose of rebellion but to remain objective. I think this explains my subject position, as well.

METHODS

Firstly, I plan on seeking out Arabic graffiti and urban art, in person, throughout Berlin. I am currently in the process of researching which neighborhoods and regions will be best. I will document the art I find through photos (which may later require some translation.) If I find art by known artists, I hope to find out their names and learn more about them and the history of the found art. I am also in the process of seeking out exhibits, etc on urban art or any local textx. I’ve recently discovered a book called “Arabic Graffiti” that I’m hoping may guide me along the way. This book is about Arabic graffiti primarily IN Arabic countries, I’d like to compare this with the art that’s found in Berlin (and perhaps other nearby cities in Germany.)

Since I will be working with some Arabic (Syrian, I believe) refugees, it may be possible for me to speak to them about graffiti and urban art, specifically. Regardless, I hope to interview them about the art that I do find and get their perspectives on various themes and the messages of the art that I find. (They may be a good resource for finding graffiti and urban art, as well!)

DAILY SCHEDULE

I don’t yet know what my schedule will be like with the community partner. Though I do know that my general habit, when traveling abroad, is to spend most of my time wandering and exploring so this part of my “schedule”, though also a part of my normal routine. As stated above, I am currently looking into particular areas of Berlin that I should investigate, as well as any potential areas outside of Berlin. (I am also looking into possibilities in Hamburb, since we will be taking a day trip there.)

For background research, I am re-reading and brushing up on Foucault and his concepts of heterotopias and politics of space. Also, I am reading Dancing in Damascus, a book by an Arabic scholar who studies the role of art (and graffiti) in revolution. I am reading several books on Arabic graffiti, seeking out popular artists that might be in Berlin online (the internet, Instagram, etc). I have found several exciting possibilities in Berlin and would like to explore any differences (or similarities) between Arabic graffiti, specifically, and other graffiti (German) – are there different themes? How do locations vary?

Equipment will be my iPhone and high end photography apps (for photos of graffiti), the internet (for blogging and creating a visual project), notebooks (for translation notes, interviews, ideas, thoughts, etc), and the internet for researching exhibitions, local urban artists, etc.

REFERENCES

Foucault, Michel. Discipline and punish. New York: Vintage , n.d. Print. “Of Other Spaces: Utopias and Heterotopias” by Michel           Foucault. Rethinking Architecture: A Reader in Cultural Theory. Edited by Neil Leach. NYC: Routledge. 1997. pp.330-336

Cooke, Miriam. Dancing in Damascus: creativity, resilience, and the Syrian revolution. New York, NY: Routledge, 2017. Print.

Zoghbi, Pascal, Stone, and Joy Hawley. Arabic graffiti = Ghirāfītī ʻArabīyah. Berlin: From Here to Fame, 2013. Print.

Lefebvre, Henri. The Urban Revolution. Minneapolis: U of Minnesota Press, 2011. Print.

Miéville, China. The city & the city. London: Pan , 2011. Print.

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