Painting without Permission: Hip-Hop Graffiti Subculture

Overview

More than ever education students are required to study the social context of youth culture in order to understand and design meaningful, motivational curiculum. There is a need to bridge the gap between theory and practice and to address the critical issues which confront the education of youth today. In studying hip-hop graffiti, the author explores a crucial but neglected area in the contemporary training of youth workers and educators.

The author interviewed ten hip-hop ...

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Overview

More than ever education students are required to study the social context of youth culture in order to understand and design meaningful, motivational curiculum. There is a need to bridge the gap between theory and practice and to address the critical issues which confront the education of youth today. In studying hip-hop graffiti, the author explores a crucial but neglected area in the contemporary training of youth workers and educators.

The author interviewed ten hip-hop graffiti writers of various race, class, and gender by audiotape and reviewed them until patterns emerged as themes, mainly issues concerning public space and community. She continued her relationship with the participants over a five-year period to observe the diversity and transformation of individuals within graffiti culture.

The study begins with a literature review from Web resources, books, and subculture magazines on graffiti in order to define The Structure of Traditional Hip-Hop Graffiti Culture. This chapter lays the basic foundation familiar to all writers and points to the main issues in order to analyze how individual writers conform to or deviate from the standard subculture. The author addresses the complex issues which are layered behind a residue of illegally painted signatures, characters, and text. There is a need for the voices of young people to be heard, especially those who have found artistic integrity, and awareness of civic and political issues on their own terms. Youth are in an ongoing struggle to construct personal identities and communities that they want to live in. Hip-hop graffiti is only one example where they have created a space, within a peer-run environment, to respect and encourage their political powers, ideas, and skills. The book asks whether an understanding of how adolescents learn outside of school can generate alternative sites for curriculum theorizing.

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Editorial Reviews

Booknews
Rahn (art education, U. of Lethbridge, Canada), a converted skeptic of graffiti as art, begins with a definition and summary of the structure of traditional hip-hop graffiti culture based on research centered on subculture websites, magazines, and books and beginning with traditional New York hip-hop graffiti culture as the conceptual framework. Interviews with graffiti artists of different races, classes, and genders comprise the second section. In the third, the social activities of the graffiti community are explored. Issues addressed in the last two chapters are graffiti as performance in public spaces and pedagogical issues. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9780897898102
  • Publisher: Greenwood Publishing Group, Incorporated
  • Publication date: 3/30/2002
  • Pages: 248
  • Lexile: 1070L (what's this?)
  • Product dimensions: 5.90 (w) x 9.30 (h) x 0.90 (d)

Meet the Author

JANICE RAHN is Assistant Professor of Art Education, University of Lethbridge, Canada.

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Table of Contents

Introduction
1 The Structure of Hip-Hop Graffiti Culture 1
2 The Interviews 25
GENE 26
DSTRBO 37
EVOKE 49
SEAZ 61
DAES 76
SINGE 87
SHANA 98
TIMER 105
ACE 117
SWEP 126
3 Community, Collaboration, and Dialogue 137
4 Performance in a Public Space: Place and Change 165
5 The Pedagogy of Hip-Hop Graffiti 183
Bibliography 217
Index 223
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