https://doi.org/10.12795/anduli.2026.i30.07
Keywords:
Graffiti, gender, public space, politics, political participation
Abstract:
Various academic publications argue that graffiti artists are apolitical; others mention their involvement in murals with a clear political message; and a third group confuses political murals with graffiti, attributing to graffiti artists the same motivations as those who paint ideologically charged messages. This research examines the political dimension of graffiti artists, based on 49 in-depth interviews and 16 instances of participant observation in Granada and Bizkaia. The analysis reveals that these individuals form part of both the social and political spheres of graffiti; consequently, the degree to which their actions are politicised will vary depending on their level of involvement in each sphere. Whilst the most orthodox artists deny any political involvement, others paint murals with clear political significance, featuring messages on touristification or freedom of expression. Meanwhile, women paint feminist murals in search of recognition within both spheres. Within local government, contradictory strategies regarding graffiti can be observed, ranging from ‘erasing’ it to designating it as cultural heritage.