The Sunday News
Tafadzwa Gwetai
GRAFFITI has changed over time and has evolved into what is known as “Modern graffiti”. Graffiti belonged and existed in the street. The public defacing of the surface using spray paint, scratching, printing and any pigments. Throughout the world, graffiti has earned a reputation of being part of a subculture that rebels against authority. Graffiti belongs to a “secret” society of people.
Graffiti is present all around us. We are surrounded by it. It is a subculture that has been associated with vandalistic qualities. A subculture that originally belonged to a “secret society of people” who preferred anonymity. Graffiti has found its way to qualify as a respectable art form in the world. Graffiti “art” began as popular urban culture within cities across the world. New York was the centre of the art scene. Graffiti painting began to attract attention on the art scene in the 1970’s in New York.
Graffiti art has its origins in the abstract expressionism and pop art. Graffiti artists were mostly artists with no or not much formal art training. Jean Michael Basquiat 1960-1988 was one of the most successful artists of the graffiti art movement. He is one of the unsung African American heroes that had a major influence on art on the global scale. Modern contemporary times have resulted in the need for new communicative approaches. Approaches that are interactive and enhance viewer experience and comprehension. Graffiti art is concept oriented where the focal point is on the message and the transfer of information. The use of text with graphics, photographs and any other didactic symbols play an integral role in the emergence and the survival of graffiti as an art form. Urbanism and industrialism have an impact on the artists expression and technique.
In the Zimbabwean context, graffiti art can closely be identified with Chikonzero Chazunguza who is also one of Zimbabwe’s influential and prominent artists, and teacher of artistic expression. His creations have graffiti like qualities and is highly expressive of issues burning in the chest of mankind. He is a printer by nature and his technique resembles a freedom, rawness and anger translated by graffiti art. Chikonzero Chazunguza has an artistic vision that can be described as “reactional” or a response to social change and social injustices. His works are characterised by dialogues that are reflections of urban culture. Elements of urban and industrial change affect the artists conceptual framework. Urbanism and industrialism influence society and its perceptions of the world has a direct impact on the artistic concepts and exhibition approaches. This can be seen in most of Chazunguza’s creations as he constantly is battling with our African identity in relation to industrial, colonial and spiritual change in our urban city existence.
Graffiti is an art form that has always been a social commentary. It is used to communicate socio and political messages and in some instances can be viewed as a form of advertising. Advertising of a concept or ideologies through the use of graphic symbols that can be either text or graphics or a combination of both. Graffiti as a form of advertising can prove to be very powerful and effective due to its simplified approach and presentation that is highly expressive. Throughout the world graffiti has found its ways on public spaces expressing and publicly advertising their thoughts on politics, religion, life, music, anger, love or any other states of mind. In both Zimbabwean and South African context graffiti was present on the streets during the colonial oppressive times. Graffiti found a protest voice on the streets as the walls were filled with words and illustrations that expressed discontent.
Graffiti art has a dual purpose in society. There is the aesthetic aspect of graffiti, which goes beyond communicating ideas. Graffiti art “beautifies” the environment or urban spaces by appearing in areas that would normally have no aesthetic appeal. Areas that are regarded as eyesores. The graffiti diverts the attention of the viewer away from the “obvious filth or dull surroundings or plain wall” thus giving the surface character. Art cannot be detached from society. Graffiti art is such an art form that offers expression to feelings and needs of social groups. Art has functional aspects.
Graffiti possesses an aesthetic quality that holds the attention of the viewer. As much as graffiti has is functional aspect of portraying social commentary on public surfaces, it attracts “aesthetic attention”. Aesthetic attention is a direct result of an awareness of something. The viewer is intrigued and captivated. Art movements have always been identified and associated with social change or linked to instigating and initiating revolutions. The concept of art being socially loyal or having a social responsibility towards the public. A reunion with art and the artists with the people is an approach that can encourage great development in the social intellect and social awareness. This awareness should however, not conflict with the artists’ aesthetic expression but should actually broaden their freedom of expressive approaches to accommodate society. Graffiti art demands the same expressive attention as any other art genre and has one mission which is to be seen and to communicate. Other genres such as spoken word, literature, sculpture, film and theatre have the very same agenda as graffiti art which is to capture the viewers attention and engage the minds of the viewer for initiating intellectual discourse. Art for our sake that builds our minds and beautifies our spaces. It is our protest as artists to legalise art and engage with the city officials, private business owners, owners of homes, architects and spread the beauty of colour on our public walls.
Remember, ‘‘Legalise Art’’, promote, permit, admit, validate, legitimise.
