Introduction
Graffiti’s legalization in some places, like the legal graffiti walls in the City of Ottawa, is a complicated topic that may be examined through the prism of power dynamics and the relationship between spaces and expression. Michel Foucault’s theory of power and surveillance and Jurgen Habermas’s notion of the public sphere might be used to comprehend the significance of these legal spaces. In the City of Ottawa and graffiti art, the power dynamics and relevance of policing graffiti places can be examined using the theories of symbolic interactionism and cultural hegemony.
Michel Foucault’s Theory
According to Foucault’s thesis, power is diffuse and embedded in societal structures and processes rather than held exclusively by individuals or institutions. The control and supervision of public areas and the classifications and designations regarded as problematic or permissible content are all examples of how power is displayed in the case of graffiti (Versteegh, 2018). The legal graffiti walls in the City of Ottawa can be viewed as an effort to exert control over graffiti’s expression and keep it contained inside a particular area, thus minimizing its ability to upend the status quo. By legalizing graffiti in a specific area, the city aims to regulate the power dynamics around the art form and to depict it as a controlled and appropriate avenue for expression.
Jurgen Habermas’s Perspective
According to Habermas’ notion of the public sphere, free forums for discussion and debate are essential in democracies. These areas promote free speech and the exchange of ideas while acting as a check on the influence of institutions and authority (Minkov, 2019). The legal walls in the graffiti case can be considered a means of allowing public expression. Still, they also create issues regarding who can express oneself and what can be stated. Legally authorized walls may be a step up from outright banning graffiti, but they still restrict speech and might silence minority or opposing viewpoints.
The Importance of Legal Graffiti for Society
In addition, the ways that various groups view graffiti reveal the power dynamics surrounding it. While some see graffiti as vandalism and disorder, others see it as an acceptable form of art and a platform for social and political criticism. Although it emphasizes the need for supervision and control, the designation of legal graffiti walls by the City of Ottawa shows that the legitimacy of the art form is acknowledged (Celik Yilmaz, 2019). This graffiti begs the question of whose authority it is to determine what constitutes art and whose freedom of expression in public is protected.
Additionally, the importance of these legal areas extends beyond the art form itself to more general societal concerns like democratic systems, ownership, and expression. A key component of democratic societies is the issue of who has license over public areas and the right to expression. One method to strike a compromise between the desire for order and control and the right to speech is by making certain areas of graffiti legal. The possibility of censorship and exclusion, particularly of dissenting voices, is also raised, which causes some worries.
A change in how the city views and governs graffiti art may be seen in Ottawa’s legal graffiti walls. Graffiti art is increasingly accepted as a genuine kind of urban art after formerly being viewed as vandalism and chaos. A rising understanding of the cultural importance of graffiti art and an effort to regulate and govern its expression may be seen in the City of Ottawa’s decision to establish legal graffiti walls (Celik Yilmaz, 2019). The city seeks to manage the space where graffiti can be expressed while simultaneously providing graffiti artists a platform to express themselves freely by designating areas where graffiti is allowed.
However, the power relationships involved in policing graffiti spaces are nuanced. The city has the authority to set aside specific areas for “legal” graffiti, as well as the authority to determine what constitutes “problematic” or “legal” material on these walls (Celik Yilmaz, 2019). This material raises the question of who can express themselves on these walls and what they can speak. Furthermore, referring to legal graffiti walls as “free spaces” may be inaccurate because the city retains jurisdiction over the area and may regulate and monitor it as necessary.
Graffiti-free areas are under the sway of cultural hegemony as well. What is considered art and vandalism can be defined by the prevailing culture in society, which individuals frequently embody in positions of authority. Graffiti art is today accepted as a genuine form of urban art despite earlier being considered a menace to public safety and order. However, not everyone agrees with this understanding; some still think graffiti art is a kind of vandalism or disruption. Additionally, the messages expressed in graffiti art can contradict prevailing cultural norms and precepts (Fischer et al., 2019). Some people could see graffiti art as a form of rebellion against the dominant culture because it is frequently linked to political and social activities.
Conclusion
In conclusion, the legality of graffiti in specially designed locations, like the designated graffiti walls in the City of Ottawa, is a complex subject that can be examined through the prisms of power interactions and the connection between spaces and expression. Foucault’s theory of power and surveillance highlights the control and management of expression. Still, the necessity of open and welcoming spaces for public discourse is highlighted by Habermas’ notion of the public sphere.
One option to strike a compromise between the right to free speech and the requirement for order and control is to legalize graffiti in certain areas. It also prompts questions regarding the possibility of censorship and exclusion, especially for dissenting voices. Legal graffiti walls have significance beyond the art form itself and raise significant issues of possession, democracy, and expression in public spaces.
References
Celik Yilmaz, N. (2019). New fashion in street art: Light graffiti. Idil Journal of Art and Language, 8(54). Web.
Fischer, R., Karl, J. A., & Fischer, M. V. (2019). Norms across cultures: Across-cultural meta-analysis of norms effects in the theory of planned behavior. Journal of Cross-Cultural Psychology, 50(10), 1112–1126. Web.
Minkov, Z. (2019). Attitudes towards democracy in Bulgaria: The importance of social inequalities. English Studies at NBU, 5(2), 323–349. Web.
Versteegh, K. (2018). Language of empire, the language of power. Language Ecology, 2(1-2), 1–17. Web.