Art & Culture with a Graffiti Style

Art & Culture in the Middle East

Brandon Griggs

Middle Eastern culture has been sculpted through the centuries by art and in return art has been formed, shaped and translated by the history that it resides within. We have seen more traditional styles of art such as paintings with oils and water based paint supplies, we have also seen sculpture using clay and this extends to the architecture of the Middle Eastern World. It is in fact its own world, a place that has recently been actively seeking more involvement with the international world. With the revolts in many Arab nations happening back in the year of 2010, or more commonly known as the “Arab Spring” we see many Arabs outraged at the status quo of their respective nations. They cry out for change, they bleed for it, they sweat for it and most importantly and the most critical aspect is that most if not all are willing to die for change to occur. Many protest verbally and by occupying popular areas within their respective countries however others voice their opinions in a different light of color, or rather they voice themselves in a vast array of colors within our known spectrum. Graffiti artists in particular show vivid imagery of tragedies, political opinions etc. others thereafter are just trying to get their name out there for the sake of people recognizing their work as that artists. This is an age of rebellion in the Middle East and graffiti artists are actively playing an exciting, terrifying, expressive and life threatening role in it.

A man casually sprays different tones on a stone wall, picking up varying stencils that will over time become something that has the potential to evoke emotions of rage, love, hate and all the rest. The man seems to be finished and then packs up and is on with the rest of his day. He could be out to spread his art throughout the city but whose to say? This setting is Cairo, Egypt in the year 2011, after the revolution in Tahrir Square demanding Hosni Mubarak’s resignation. If we were back just a couple months prior the scene described above would have a much different presence. The man would most likely be spraying as quickly as possible as to avoid being caught by the police/government officials. Under Mubarak’s rule and in conjunction with the Ministry of Culture graffiti was heavily censored. However today artists have much more freedom to voice themselves through graffiti which predominantly depicts beautifully crafted murals and reflects their opinions on varying topics. Graffiti is still used to actively voice opinions on political issues in Egypt and in many, many other Arab Nations. “In the Egypt of today walls of the government building Mugamma, the bureaucratic arm of the former President's repressive regime, has become a canvas on which to make fun of him. … In some places the stencils have been adorned with devil horns, in others they bear the slogan, "who protects the tyrant?" In one he appears with his wife, both of their heads on the body of snakes.” (1, Gröndahl) There is a new sense of pride and confidence that radiates through Egypt, while it still has a long way to go and there are many problems that they face along the way. However the feelings of the people have become much more positive after the revolts within their nation. These graffiti artists voiced out all their emotions towards the regime that had oppressed them for such a long period of time.

‘It’s not just the authorities that pose a threat to street artists in Egypt though. Often, members of the public are opposed to graffiti too, declaring that it’s vandalism and/or offensive--’ (1, Downey) Not everyone who does graffiti is just doing it to do it, but rather most Arabs have a purpose and they know the consequences that come with their choice. A women in particular has some strange standings in public due to her graffiti art. Her name is Hend Kheera and she is a twenty-five year old and she is currently a structural engineer in Egypt. She has a lot of noteworthy works in the graffiti world but one stands out because of the story it provides.

‘One of her most well-known pieces was created in response to the trial of Samira Ibrahim, who took the government to court in August last year as a result of her strip-search by a military doctor after she and several other women were detained at a protest in Tahrir Square, then videotaped while the doctor violated them. Kheera’s provocative stencil was an outline of a woman, crossed out in red, with the caption, “Don’t touch. Castration awaits.”’ (1, Downey)

Hend Kheera has already had an unreal experience but still pushes onwards and ever forward with her graffiti. Hend Kheera does her work early in the morning so as to avoid confrontation from the general public. Given that graffiti isn’t always looked positively upon and also that she is a women doesn’t help the situation if she is caught. Hend Kheera takes risks doing what she does, she believes that a message needs to be sent to the public and she risks herself to send out these messages.

A couple years after all the big events had occurred we still see graffiti being done by many artists in and around the Arab Nations, but not all of the art is focused on revolutions against the regime per say. Rather some art is voicing out against their own peers and depicting their dissatisfaction with how they are treated; in focus, women. This image was created by a female artist named Shamsia Hassani; she is a twenty-four year old Afghan female artist; she teaches at the Faculty of Fine Arts. Shamsia Hassani’s work shows women in burqas with light blue coloring and giving a light tonality to strict gender roles. Shamsia Hassani is considered to be one of the first women graffiti artists hailing from her country of Afghanistan. The images and free flowing strokes evoke feelings of free-flying and in conjunction with the light coloring and emphasis on blue these emotions are reinforced. Suppression is a recurring descriptive word that comes to mind when I look at these murals, her art style is simplistic and has great showmanship to her feelings and those of her peers on womens rights.

Another graffiti artist is Malina Suliman. Malina Suliman is a twenty-three year old Afghan women who shows her voice and struggles through her labors of art. Usually her signature pieces are those of skeletons that reside within a burqa. Malina Suliman has received many threats from the Taliban in reaction to her work. Strangely enough both Shamsia and Malina has strikingly similar art styles, utilizing blue as their central coloring factor with a similar theme to both. Though Shamsia Hassani’s vibes have a much more positive outlook compared to Malina Suliman whose women are portrayed in a more dark themed setting. Both are very expressive of the ideas they aim to portray and it is plain to see.

These are great examples of how variation is a great thing within a society, multiple perspectives on problems and issues is in part how we find resolution to them.

Keep in mind that great graffiti work is not just happening in Egypt but in many of the Arab Nations. Another artist to note is Sarah Al Abdali. Sarah Al Abdali is a twenty-two year old graffiti artist hailing from Saudi Arabia, she too is to be considered one of the first women graffiti artists in her nation. Sarah Al Abdali primarily utilizes stencils in her works and she uses her art to comment on the urbanization of the holy city of Mecca.

Egypt seems to be at the forefront of supporting women in graffiti art, this is not a direct action of theirs but headway is being made regardless. Egypt has made a lot of progress in graffiti and graffiti has been a central theme ever since the Arab Spring started in Egypt a few years back. Women as a focus have also started picking up the can and showing who they are and what they stand for and what they stand against in their respective societies. A group in Egypt titled ‘Women on Walls’ has sprung up and through this group many women have started to take a more active role. The movement was founded by Mia Grondahl a Swedish author and a women’s activist Angie Balata. This movement's goal is to empower Egyptian women through their graffiti works. It is still in its early stages and the group consists of twelve women thus far but aims to gain more followers as time progresses on.

These women artists all communicate their ideals through their graffiti art and effectively so. Graffiti is a great way to make sure that a lot of people see your work, whether they really understand what you are trying to say is one argument to be had. However if the work is thought provoking by itself and some sort of message is translated to the viewer then it is effective in its conception. Its very exciting to see more women and men taking to the streets and expressing their views, most people around the world (me including) had a stereo-type in mind that most Arabs do not really rebel through art. This is absolutely not true and these depictions are done everyday through many different mediums.

Graffiti art is influential, vivid and powerful. In these Arab nations graffiti surrounds everyone and is as much a part of daily society as eating and breathing is. Everywhere you turn you are most likely to find graffiti showmanship; commenting or vocalizing their views, ideas and perspective. When I say ‘their views’ I mean the views of men, women, children, the elderly and in part some politicians. This is an age full of constant change, turmoil and resistance. It is exciting as change usually is but with change and excitement also comes the fear of it and those who would oppose it. Graffiti is playing an essential role not just in revolutions in Arab countries but also in questioning the daily life norms of society. Graffiti is a new found voice and it is gaining strength every day.

Works Cited

1. McGILL, DOUGLAS C. "MIDDLE EAST ART THEFTS TIED TO INFLATED MARKET." New York Times, Late Edition (East Coast) ed.Jan 07 1986. ProQuest. Web. 10 Apr. 2014 .

2. Bishara, Shahad. "Women & Street Art in the Middle East." Women & Street Art in the Middle East. Street Art News, 02 Nov. 2013. Web. 10 Apr. 2014.

3. Gröndahl, Mia. "Middle East Monitor - The Latest from the Middle East." Middle East Monitor - The Latest from the Middle East. The Middle East Monitor, 27 Mar. 2013. Web. 10 Apr. 2014.

4. DOWNEY, MICHAEL. "The Writings on the Wall." Rolling Stone Culture. Rolling Stone, 03 June 2012. Web. 10 Apr. 2014.