Incorporation And Exploration Of Local Imageries And Identities In Malaysia's Graffiti Art
The production of graffiti art in Malaysia can be traced back to the late 1990’s. Since then, graffiti art has beenembraced by local municipalities as well as the National Visual Art Gallery (NVAG) in their public programming and activities. Despite these positive developments, how the local graffiti artists infused local imageries and indentities in their work had not been examined. The parallels between graffiti art practices and the development of modern art in Malaysia, made the emergence of forms and themes that reflect local identity in graffiti art not a surprise, as these were also the inherent issues explored by local artists in the domain of fine arts. This paper hence, discusses the different approaches taken by Malaysia’s graffiti artists, how they incorporate and explored their visual ideas rooted in hip hop culture and the New York City Subway graffiti, with local imageries and identities. This paper will also discuss the history and background of Malaysia’s graffiti art as well as how Malaysian graffiti artists employedvarious local imageries and identity.
Keywords: graffiti art; local identities; Malaysian graffiti art; urban culture.
Clarke, M., The Concise Oxford Dictionary of Art Terms, New York: Oxford University Press, 2003.
Stowers, G.C., Graffiti Art: An Essay Concerning the Recognition of Some Forms of Graffiti as Art, http://www.Graffiti.org/faq/stowers.html, 2007 (14 October 2012).
Marco, T., Stencil Graffiti, London: Thames and Hudson, 2002.
Ayob, H., Graff Jam 09: Graffiti bukan Vandalisme, Seni Kini, BSVN: Kuala Lumpur, 2009.
McGovern, E., A Survey of Graffiti in Kuala Lumpur, http://www.arterimalaysia.com/2009/04/19graffiti-heroes-part-1/ (1 November 2011).
Bernama, Graffiti for Positivity, http://www.malaysiandigest.com/ features/26482-graffiti-for-positivity. html (1 October 2012).
Cooper, M. & Chalfant, H., Subway Art, London: Thames & Hudson, 1984.
Rahn, J., Painting without Permission: Hip-Hop Graffiti Subculture. Westport, CT, USA: Greenwood Press, 2002.
Mitchell, T., Global Noise, Rap and Hip Hop Outside the USA. Middletown, CT: Wesleyan University Press, 2001.
Shuker, R., Key Concepts in Popular Music, London & New York: Routledge, 2008.
Castleman, C., Getting Up: Subway Graffitti in New York, Cambridge, MA: MIT Press, 1982.
Mai, M., Writing-Urban Calligraphy and Beyond, Berlin: Die Gestalten, 2004.
Tucker, D., Graffiti: Art and CrimeI, http://www.graffiti.org/faq/tucker.html (17 October 2012).
Abdullah, S., The Localization of Abstract Expressionist Style in Malaysia Art, In ICSSH 2009: Proceedings of the 2009 International Conference on Social Science and Humanities, Edited by Yi Xie, Singapore: IACSIT Publishing, 2009.
McGovern, E., Graffiti Live!, http://www.cacsa.org.au/cvapsa/2009/7_bs_38_3/Mcgovern38_3.pdf (16 April 2010).
McGovern, E., Tlg Graffiti Gallery!, http://arteri.search-art.asia/2009/08/08/tlg-graffiti-gallery/ (1 November 2011).
Amir, M., Grafiti Batik Kontemporari: Malaysia Pavillion Shanghai Expo 2010, Seni Kini, BSVN: Kuala Lumpur, 2010.
- There are currently no refbacks.
Lembaga Penelitian dan Pengabdian kepada Masyarakat (LPPM), Center for Research and Community Services (CRCS) Building, 6th & 7th Floor, Institut Teknologi Bandung, Jalan Ganesha 10, Bandung 40132, Indonesia, Tel. +62-22-86010080, Fax.: +62-22-86010051; E-mail: email@example.com
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.