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1981
Volume 26, Issue 3
  • ISSN: 1368-2679
  • E-ISSN: 1758-9142

Abstract

In the context of usually little tolerance policies in North African political culture towards public gatherings, this article demonstrates the importance of understanding why street art has become unpredictable and unpunishable since the social protests of 2011 in Tunisia and Egypt. Studying graffiti has relevance for research and policies on artistic rebellion as this art is part of a little defined area of performance that is not harmful but can nonetheless be labelled as unrest. It has a role of eyes on the street in multifunctional neighbourhoods, when people’s presence in the streets contemplating murals or demonstrating nearby could contribute to attract more people, but distinct from people who hang around in urban spaces as social disorder. In the region’s public space some official or government supported demonstrations can be performed, while everything that departs from the mainstream is removed or excluded. This article establishes that straying perspectives on public manifestations, graffiti included, lead to confusion about appropriate political responses. In fact, it addresses the question that if offensiveness is subjective, how can authorities discern what is acceptable and what is not. And to whom should authorities listen: to the majority, to those with most political or economic influence, or to more marginal artistic groups who enact their ‘right to the city’.

Résumé

Dans le contexte de politiques généralement peu tolérantes en Afrique du Nord à l’égard des rassemblements publics, cet article démontre pourquoi le est devenu imprévisible et échappe à la condamnation depuis les manifestations populaires de 2011 en Tunisie et en Égypte. L’étude du graffiti est pertinente pour la recherche et les politiques sur la rébellion artistique, dans la mesure où cet art fait partie d’un domaine de performance peu défini qui n’est pas nuisible mais peut néanmoins être qualifié de trouble. Il a un rôle d’œil sur la rue dans les quartiers multifonctionnels, où la présence de personnes contemplant des peintures murales ou manifestant à proximité, pourrait contribuer à attirer davantage de monde, mais à distinguer des personnes qui traînent dans les espaces urbains en raison du désordre social. Dans l’espace public de la région, certaines manifestations officielles ou soutenues par le gouvernement peuvent avoir lieu, tandis que tout ce qui s’écarte du courant dominant est supprimé ou exclu. Cet article établit que les perspectives errantes sur les manifestations publiques, y compris les graffitis, conduisent à une confusion quant aux réponses politiques appropriées. En fait, il répond à la question suivante: si le caractère offensant est subjectif, comment les autorités peuvent-elles discerner ce qui est acceptable et ce qui ne l’est pas. Et qui les autorités doivent-elles écouter: la majorité, ceux qui ont le plus d’influence politique ou économique, ou les groupes artistiques plus marginaux qui mettent en œuvre leur ‘droit à la cité.

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The politics of urban murals in North Africa: Performing dissent and martyrdom in the city
International Journal of Francophone Studies 26, 99 (2023); https://doi.org/10.1386/ijfs_00057_1
/content/journals/10.1386/ijfs_00057_1
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  • Article Type: Article
Keyword(s): city; graffiti; murals; protest; space; urban

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