Graffiti

Disturbing the Comfortable, Comforting the Disturbed

"Art should comfort the disturbed and disturb the comfortable," writes the pseudonymous street artist Banksy, a sentiment that encapsulates the spirit of graffiti's defiance.

Graffiti's potency lies in its subversive, guerrilla nature. Unlike wall art, which is typically organized and sanctioned, graffiti thrives on immediacy, spontaneity, and the risk of persecution. Where wall art may take time and care, graffiti is often quick, requiring speed and anonymity due to the threat of detection. Its purpose is to challenge power, counter surveillance, and inscribe messages that are otherwise censored or suppressed.

The July uprising brought new dimensions to this medium of dissent. Spray-painted slogans defied erasure, embodying collective rage and revolutionary solidarity. Demands like "Ek dofa, ek dabi, shoirachar tui kobe jabi?" surfaced as cries for justice, echoing the French philosopher Jacques Derrida's assertion that "What cannot be said... must not be silenced but written."

A strong sense of inclusivity was also reflected in the wall art and graffiti during and after the July uprising, which highlighted the case of the marginalized and minoritized people in multiple instances. Numerous graffiti and wall art pieces not only called for justice but also carried a broader message of liberation, "Not a land of one nation, Bangladesh is a land of many communities" symbolizing the interconnected struggles of all communities. It underscored the message that our collective liberation is intertwined, with the fight for justice uniting people across regions and backgrounds.

Wall art stating: "Not a land of one nation, Bangladesh is a land of many communities."

The true power of graffiti lies in its resilience; it persists as a medium for revolutionary memory and collective consciousness. It speaks for those silenced, ensures the struggles of the marginalized endure, and, as Banksy's words suggest, comforts the disturbed while disturbing the comfortable.

A. Answer the following questions based on your reading of the passage:

1. How does graffiti serve as a powerful tool of resistance and dissent, especially in political movements? Compare its role in Bangladesh from the 1960s to the July uprising of 2024.
2. How does graffiti reflect the interconnected struggles for justice across different communities and regions? How do slogans like "From the plains to the hills, this time liberation is for all" illustrate this message?
3. In what ways do graffiti and wall art differ in terms of their purpose, creation, and the risks involved? What makes graffiti a more subversive, guerrilla form of expression?
4. What role do immediacy and anonymity play in the creation of graffiti, especially in politically charged contexts? Why are these characteristics essential to its effectiveness?
5. How can graffiti contribute to collective memory and preserve the struggles of marginalized communities, as seen in the recent protests? What makes it an enduring form of expression, even in the face of censorship?

B. Writing Exercise:

Graffiti has been considered a significant form of expression in political movements, especially in times of oppression. Write a short essay discussing the role of graffiti in resisting censorship and challenging power, particularly in the context of Bangladesh's history. Analyze how graffiti, as a form of spontaneous and guerrilla expression, differs from other more organized artistic expressions like wall art. Use examples from the passage, including the slogans during the July uprising, to support your argument.

C. Group Work: Graffiti or Wall Art Project

In your group, design a graffiti or wall art piece that expresses your message of resistance, solidarity, or demand for change. Focus on the symbolism, color choices, and text that will best represent your cause. Afterward, explain your design choices and how they reflect the message you want to convey to the public.