Orientador: Agnus Valente / Banca: Arthur Hunold Lara / Banca: Sergio Mauro Romagnolo / Resumo: A presente dissertação apresenta uma proposta de pesquisa no campo da linguagem da nova geração de Graffiti de rua em São Paulo, provindos da tradição nova-iorquina e inspirados no movimento cultural hip-hop. Aborda questões de sua estética, sua utopia, e relação aos sistemas a ele relacionados, seus conflitos de um lado com a lei e de outro com o mercado de arte - que determinam diferentes perfis de produção. O autor, imbuído de preceitos adquiridos em sua trajetória como artista de rua interventor, parte de um breve estudo histórico do período inicial do Graffiti em Nova York, como antecedente que esclarece as intervenções atuais, incluindo também a produção desses grafiteiros (entre eles o próprio artistapesquisador) que hoje integram o mercado de arte (reivindicação paradoxal desses artistas), tendo como base suas produções anteriores e posteriores ao ingresso nos meios expositivos institucionais bem como no campo da pesquisa disciplinada na arte do Graffiti / Abstract: This paper presents a research proposal in the field of language of the new generation of Graffiti street in Sao Paulo, the tradition stemmed New York and inspired by the hip-hop cultural movement. Addresses issues of his aesthetics, his utopia, and compared with the systems related to it, its conflicts of law with one hand and another with the art market - which determine different production profiles. The author, imbued with principles acquired in his career as a street artist intervenor, part of a brief historical background of the initial period of Graffiti in New York, and a precedent that clarifies the current interventions, including also the production of these graffiti artists (including himself artist-researcher) which today are part of the art market (paradoxical claim these artists), based on their previous productions and after admission in the media as well as institutional exhibition in research disciplined in the art of Graffiti / Mestre

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2016-10-26T17:35:34Z No. of bitstreams: 1 2015 - Lenita Ramos Vasconcelos.pdf: 2769729 bytes, checksum: aa272b422395edba943eba096bcc7ca4 (MD5) / Made available in DSpace on 2016-10-26T17:35:34Z (GMT). No. of bitstreams: 1 2015 - Lenita Ramos Vasconcelos.pdf: 2769729 bytes, checksum: aa272b422395edba943eba096bcc7ca4 (MD5) Previous issue date: 2015-04-29 / CAPES / Cities are the scenarios of many relationships, and the movements that emerge in this context elucidate the knowledge production and the ways that subjects found to perform transformations and to be part of the spaces. Youths have a close connection with urban life, as well as a hybrid transient essential, just like the cultures they interact with. Graffiti is a culture that emerged from resistance movements and makes up the urban landscape as part of the life of both who work it out and who just walk though the streets. The involvement of women is still not usual in this type of artistic manifestation, which may be explained by the original subversive character in which such art emerged, as well as by the mismatch with some of the social patterns, especially those relating to gender issues. Graffiti characters and texts bring elements different from those usually exposed in the city through State and media interventions, creating new landscapes and representations. There is therefore an entire education and training process in the experiments networks found in the streets, which graffiti is part of and in which women have been inserting themselves. This research addresses the creations of women undergoing graffiti in the metropolitan area of Rio de Janeiro, and this universe is methodologically approached through reports from the artists and the author. To this end, discussions are raised involving living in, with, and through the spaces, especially the urban environment; the public and private spheres; and the experience of women of different profiles in this context. / As cidades s?o cen?rios de muitas rela??es, os movimentos que emergem nesse contexto elucidam a produ??o de conhecimento e as formas que os sujeitos encontram de transformar e fazer parte dos espa?os. As juventudes possuem uma ?ntima liga??o com a vida urbana, possuem uma ess?ncia h?brida e transit?ria, da mesma forma que as culturas com as quais interagem. O graffiti ? uma cultura que surgiu de movimentos de resist?ncias e comp?e a paisagem urbana, fazendo parte da vida tanto daqueles que elaboram quanto dos que transitam pelas ruas. A atua??o de mulheres ainda n?o ? usual nesse tipo de arte, o que talvez possa ser explicado pelo car?ter subversivo em que a mesma surgiu, assim como pelo desencontro com alguns dos padr?es sociais, em especial os que envolvem as quest?es de g?nero. Os personagens e textos grafitados trazem elementos diferentes dos que normalmente s?o expostos na cidade por meio de interven??es do Estado e da m?dia, criando novas paisagens e representa??es. Existe, portanto, todo um processo educativo/formativo nas redes de experi?ncias presentes nas ruas, da qual o graffiti faz parte e as mulheres v?m se inserindo. A pesquisa aborda as cria??es de mulheres que realizam graffiti na regi?o metropolitana da cidade do Rio de Janeiro, tal universo ? abordado metodologicamente por meio de relatos das artistas e da autora. Para tanto, s?o levantadas discuss?es que envolvem a viv?ncia nos/com/pelos espa?os, principalmente o meio urbano; as esferas do p?blico e do privado; e a experi?ncia de mulheres de diferentes perfis nesse contexto.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2015-08-05T21:30:39Z No. of bitstreams: 1 Renata Carvalho da Silva - Disserta??o.pdf: 3335119 bytes, checksum: 33a37cb5b2e6b6d50a74d34ef61c2f14 (MD5) / Made available in DSpace on 2015-08-05T21:30:39Z (GMT). No. of bitstreams: 1 Renata Carvalho da Silva - Disserta??o.pdf: 3335119 bytes, checksum: 33a37cb5b2e6b6d50a74d34ef61c2f14 (MD5) Previous issue date: 2015-01-29 / This research aims reflecting about the artistic hip-hop productions and performances groups in Feira de Santana. Hip-hop is understood today, as the articulation of four teams / artistic elements that are part of the creative essence of the movement, they are: the disk jockey, the master of ceremonies, the break dancer and the graffiti artist, we can still consider a fifth team that is one relating to political activism. In the context of the city, we see the increasing presence of two of these elements, these are graffiti and rap?s manifestations. Over the past decade the hip-hop has been working in the cultural scene of Feira de Santana with the presence of two participative groups, the H2F association and the crew of graffiti artists NDF. These, in turn, have changed the relationship of subjects in the city, building artistic interventions and creating new spaces for dialogue and articulations. We find in Feirense scene, the emergence of independent cultural projects built by the hip-hop groups, which are organized to keep up culturally "alive" in the artistic context of the city. These groups demonstrate a preocupation to provide training (discussion) between their participants and lay hold of the effort and collective support for the dissemination of productions of rap groups, graffiti and break, and for the financing and organization of events, such as making shows , task forces, lectures and speeches. Considering hip-hop?s importance as a movement able to modify the models of creative participation and provide visibility peripheral culture, we try to understand, how was the hip-hop?s emergence and diffusion in the city of Feira de Santana, analyzing how they are organized groups in the construction of production and how young people fall into the hip-hop culture, as well as what the meanings are attributed to artistic practices within the social dimension Feira de Santana of hip-hop. It was used the qualitative research methodology, collections and observations being employed, using social networks and specialized websites as source of information and participants? identification. As collection instruments semi-structured interviews were conducted, photographs and notes in notebook. Speeches and photographs? analysis is based on the ethnographic method. / A pesquisa busca estabelecer uma reflex?o acerca das produ??es art?sticas e performances dos grupos de rap e grafite em Feira de Santana. O hip-hop ? compreendido na atualidade, como a articula??o de quatro elementos art?sticos, que fazem parte da ess?ncia criativa do movimento, s?o eles: o disk jockey, o mestre de cerim?nia, o dan?arino de break e o grafiteiro, podemos ainda considerar, em alguns grupos, uma quinta forma??o referente ao ativismo pol?tico. Nos ?ltimos dez anos o hip-hop vem ganhando espa?o na cena cultural de Feira de Santana com a presen?a de dois grupos participativos, a associa??o H2F e a crew de grafiteiros NDF. Esses, por sua vez, t?m modificado as rela??es dos sujeitos com a cidade, construindo interven??es art?sticas e criando novos espa?os de di?logos e articula??es. Encontramos na cena feirense a emerg?ncia de a??es culturais independentes, constru?das pelos grupos de hip-hop que se articulam para manterem-se culturalmente ?vivos? no contexto art?stico da cidade. Esses grupos demonstram uma preocupa??o em proporcionar forma??o (discuss?o) entre seus participantes e lan?am m?o do esfor?o e apoio coletivo para a divulga??o das produ??es dos grupos de rap e grafite, e para o financiamento e organiza??o dos eventos, como a realiza??o de shows, mutir?es, palestras e interven??es.Considerando a import?ncia do hip-hop enquanto um movimento capaz de modificar os modelos de participa??o criativa e proporcionar visibilidade a cultura perif?rica, busca-se compreender, como se deu o surgimento e a difus?o do hip-hop na cidade de Feira de Santana, analisando como se organizam os grupos na constru??o das produ??es e de que forma os jovens se inserem na cultura hip-hop, bem como quais os sentidos e significados s?o atribu?dos ?s pr?ticas art?sticas dentro da dimens?o social do hip-hop de Feira de Santana. Na metodologia foi utilizada a pesquisa qualitativa, sendo empregadas coletas e observa??es, usando as redes sociais e sites especializados como fonte de informa??o e identifica??o dos participantes. Como instrumentos de coleta foram realizadas entrevistas semi-estruturadas, fotografias e anota??es em caderno de notas. A an?lise das falas e fotografias ? baseada no m?todo etnogr?fico.

Made available in DSpace on 2016-03-15T19:23:58Z (GMT). No. of bitstreams: 1 Luiz Benedito de Castro Telles1.PDF: 4494704 bytes, checksum: 9c9e6314b79dd1a6717f2c4a47647e44 (MD5) Previous issue date: 2011-03-31 / Instituto Presbiteriano Mackenzie / We seeked to understand the process of acquisition of territory and urban landscape by the experimental art and its social character of graffiti, taking as a starting point their incursion into the geography of contemporary cities. We looked for changes in the cultural landscape of the city of Sao Paulo by the insertion of graffiti, particularly the landscape of areas involving forgotten spaces in order to grasp and understand the concept and action relating to that significant street art. A closer look at the behavior and procedures of urban tribes has been done to better understand their viewpoints on the different conditions of life in big capitalist cities, on festivals, on gatherings, their search and choice of sites for graffiti's. And also on the legal experiences in the outdoor lab where their art is denoted as illegal, although it denounces almost invisible social injustices. Those walks through the city of São Paulo were a colorful and pictural rediscovery of these brave and unavoidable acts of intervention. / Busca-se entendimento do processo de apropriação de território e da paisagem urbana pela arte experimental e de caráter social do grafite, tendo como ponto de partida suas incursões pela geografia das cidades contemporâneas. Dirigiu-se o olhar para as alterações da paisagem cultural da cidade de São Paulo pela inserção do grafite, especialmente a paisagem das áreas que envolvem espaços esquecidos, no sentido de captar e compreender a ação e conceito relativos a essa expressiva arte de rua. Aproximação sobre o comportamento e procedimentos das tribos urbanas foi feito, para melhor compreender suas discussões sobre as diferentes condições de vida nas grandes cidades do capitalismo, sobre as festas, encontros, viagens para reconhecimento e escolha dos locais para grafitar e o próprio ato lícito de experimentar o laboratório a céu aberto e de fazer a arte denotada como ilícita, porém explicitadora ocular das já quase invisíveis injustiças sociais. Os percursos pela cidade de São Paulo foram redescobrindo, redesenhando e recolorindo esses corajosos e inevitáveis atos de intervenção.

The term graffiti has been adapted to mean any type of writings on a surface area that have been scratched, painted or marked. These writings, which are typically perceived from a negative point of view, may be something as small as doodles on a paper or something as large as paintings on a wall or the side of a building. Because graffiti is often part of gang culture and identified as criminal activity, when graffiti enters into a school the school's atmosphere and graffiti deters from a positive educational environment. In this study, five School Resource Officers from urban secondary schools in Utah were interviewed. These interviews were conducted in order to better understand Utah School Resource Officers' experiences and their perceptions of the most common types of graffiti being created inside their school building; what (if any) disciplinary measures are typically applied when those responsible for graffiti are identified; and what strategies are used to prevent future incidents of graffiti. Their perceptions and recommendations are considered and summarized to assist other school communities who face similar challenges with in-school graffiti. Overall, School Resource Officers' feedback indicates that graffiti is a major problem in public schools, particularly for high schools that have gang related graffiti. Implications for school-based interventions include the following recommendations made by the participating School Resource Officers. They emphasized the importance of closely monitoring and supervising students during school hours; rapidly removing graffiti in situations where graffiti is displayed; and clearly stating and enforcing consequences for students who participate in creating graffiti in schools. School Resource Officers also noted the importance of building trust with students and providing opportunities of anonymous reporting.

acase@tulane.edu

No description available.

[pt] Um documento de atuação. Este é o formato desta tese. O empreendimento consiste na busca dos significados do grafite a partir dos depoimentos de sete jovens grafiteiros pertencentes às camadas médias-altas da Zona Sul da cidade do Rio de Janeiro, da interpretação das imagens fotográficas dos grafites urbanos e da análise dos registros do diário de campo da pesquisa. O intuito maior em documentar a atuação de Twig, Broz, Fel, Rio, Det´s, Zat e Dog foi descobrir a razão pedagógica que torna o grafiteiro, grafiteiro. Não obstante, busco compreender e revelar que valores, gestos e conteúdos são mantidos, atualizados e transmitidos de grafiteiros a grafiteiros a fim de formar-lhes o ethos e agregá-los à cultura do grafite. É justamente pela perspectiva da transmissão do modus adquirendi de geração a geração que busco os nexos e as relações entre o grafite urbano e o processo educativo que os partícipes experimentam e pelo qual se tornam grafiteiros. Aqui encontro o principal indício de que tal itinerário configura-se enquanto uma pedagogia que, no caso específico desta tese, é a própria Pedagogia do Spray. / [en] A document of performance. This is the format of this thesis. Its main task consists in a search for the meanings of the graffiti from the standpoint views and depositions of seven young graffiti writers belonging to the upper-medium class of the southern area of the city of Rio de Janeiro. It also deals with the interpretation of the photographic images of the urban drawings as well as the analysis of the registries on the field diary. The major purpose in documenting the performance of Twig, Broz, Fel, Rio, Det´s, Zat and Dog was to discover the pedagogic reason behind those who choose this form of expression - the graffiti. We also tried to understand and to reveal how values, gestures and contents are maintained, updated and transmitted from each older and more experienced graffiti writers to the new ones establishing an ethos, which provides them with the means to become a part of the graffiti culture. It is exactly from the perspective of the transmission, of the modus adquirendi, from generation to generation that we search for the connections and the relationships between the urban graffiti and the educational process that involves the process of becoming graffiti writers. Our findings show a strong indication that such itinerary might be viewed as a pedagogy that, in this specific case, we designate as Pedagogy of the Spray.

The study focuses on the types of cultural practice that are, in the main, generated by the young people themselves (hereafter referred to as youth generated cultures) who fall within the age group of 14-20 yrs of age. The research was undertaken in the Western Sydney region, which is the largest expanding population in Australia, and is regularly defined as a socio-economically disadvantaged region, therefore, an important factor within this study is the issue of class determinants. The paper explores the youth generated cultural practice of graffiti, skateboarding, street machining, and street dancing. These creative practices challenge traditional notions of culture and the arts, however the young people also employ strategies of an aesthetic nature in their creative process. Youth generated cultures are actively engaged in criticism through the use of instrumentalist aesthetics such as Monroe Beardsley describes. The thesis proposes that youth generated cultures have, in a united and structured manner, provided for themselves a framework of economic and pedagogical support that has afforded them a place within the cultural mainstream without the recognition or approval of mainstream cultural establishments. It is argued that these particular youth generated cultures are not rebellious or destructive subcultures, that they are creative in nature and have been established primarily to produce and display their creative cultures. Youth agency is essential to the character of these youth generated cultures and it is this agency that is under challenge from the cultural hegemony. The young people involved in youth generated cultures demand that any account of their cultural practice must also accept the agency of youth as fundamental to their cultural status. / Master of Arts (Hons) (Art History and Theory)

<p>This research is interested in the linguistic choices people use to express and negotiate subjective, inter-subjectiveand ideological positions through the graffiti within the confines of selected men's and women's toilets on the UWC main campus. The focus is on attitudes, one aspect of appraisal theory. The aim of investigating the attitudes inherent in the toilet graffiti is to obtain an insight into the evaluative discourse of men and women with regard to their emotional, judgmental and evaluative stance in their writings. This form of analysis is on the level of meaning. Differences with regard to the attitudinal content in terms of occurrence (quantitative) and content (qualitative) are investigated. The data shows that &lsquo / male&rsquo / (gender) are implicit when expressing emotions, whereas female is explicit in its expression of emotions. In addition, in terms of the evaluation of emotions, the data indicates that &lsquo / females&rsquo / are insecure in terms of their emotional disposition, whereas males mostly express emotions of unhappiness in the toilet graffiti analysed. Both males and females have a tendency to judge each other with regard to their capacities. In terms of judgement of behaviours and things, males can be said to have interesting and even creative ways of evaluation, which include punctuation, taboo varieties and pictures.</p>