Banksy and Street Art in Nepali Context

Hema Keyal

Abstract


While art came to its present advanced age, different schools of thought, styles and techniques were developed that influenced each other in many ways. Different people perceived arts as ‘art is for art’s sake’, while others view arts as an expression of human desires and ideals for the better world. Banksy is an artist of social consciousness who has special message to deliver to the large public. The aim of this study is to understand the features, themes, and techniques used by Banksy’s arts having seen the tremendous shift in the way the Nepalese communities are embracing the street and graffiti arts. This paper dwells much on the analysis of secondary source data such as gray literature, journals and primary data (field reports) and primary data Banksy’s legacy and his influence on the Nepalese communities.

The study also found out that Impermanence is beneficial to graffiti and street art because it allows for an array of inspiration and creative adaptability. Banksy’s arts are not only a strong way of echoing the voice of the voiceless against the ills of capitalist system of governance, but also expression of love, peace and harmony through his social arts as a weapon of social change against the authoritarian rulers, violence etc. Nepali artists have learned, from Banksy’s art, to use art as a creative expression of social voice of the large number of voiceless public. In the context of Nepal, graffiti as a political slogan writing is an old practice in the streets. However, they have not contributed in any artistic sense. Recently, wall murals are getting painted in the streets of Kathmandu. Nepali street artists can learn from Banksy’s creativity to speak against the abuse of public conscience by selfish and immoral political powers and large business houses that do anything with the public for profit. As writing on the street is not a serious crime in Nepal, Nepali artists can emulate from the work of Banksy to publicly speak out the message of peace and earn themselves some revenues through their creative artwork.


Keywords


Banksy, Street Art, Graffiti Art, and Nepali Art

References


Abel, E.L. (1978). The Handwriting on the Wall: Toward a Sociology and Psychology of Graffiti. Connecticut: Greenwood. 12(2):383-383.

Adams, G. (2011). Hacked Off: The art show that’s driven Banksy up the wall. The Independent. Retrieved from website:

https://www.independent.co.uk/arts-entertainment/art/news/hacked-off-the-art-show-thats-driven-banksy-up-the-wall-2348433.html. In-text reference: (Adam, 2011).

Anastasiou, A. (2017). Kathmandu Street Art. Retrieved from website:

http://www.scribblesnaptravel.com/kathmandu-street-art/. In-text reference: (Anastasiou,

.

Aplpaslan, Z. (2006). Is street art a crime? An attempt at examining street art using criminology (pp.53). Retrieved from website:

http://www.academia.edu/26413743/Street_Art_Vandalism_or_a_new_art_movement_Case_study_Banksy_vs_UK_tort_law. In-text reference: (Aplpaslan, 2006).

Bangdel, D. (2010). "Contemporary Nepali Art and Lasanaa" in Glocalization of Art: A Nepali Context. Kathmandu: LASANAA Publications. Retrieved from website:

https://www.academia.edu/12003213. In-text reference: (Bangdel, 2010).

Bartholome, L., & Snyder, P. (2004). Is it Philosophy or Pornography? Graffiti at the Dinosaur Bar-B-Que. The Journal of American Culture. In-text reference: (Bartholome, 2004).

B. B. News. (2015). Kathmandu graffiti: Street art has made the walls come to life.

Retrieved from website:

https://www.bbc.com/news/magazine-31908822. In-text reference: (27 March 2015).

Brewer, D.D. (1992). Hip-Hop Graffiti Writers Evaluation of Strategies to Control Illegal Graffiti. 51(2): 188-196.

Bridge, G., & Watson, S.E. (2002). A Companion to the City, Oxford: Blackwell. In text reference: (Bridge 2002).

Brown, K.S. (2003). “Nepalese Painting.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Retrieved from website:

http://www.metmuseum.org/toah/hd/nepp/hd_nepp.htm. In-text reference: (Brown 2003).

Cedar, L. (2008). Street Art: The Graffiti Revolution. New York, Harry N. Abrams, Inc, Print. In-text reference: (Cedar, 2008).

Chitrakar, M. (2004). Icon of a Transition. Retrieved from website:

https://www.worldcat.org/title/tej-bahadur-chitrakar-icon-of-a-transition/.

In-text reference: (Chitrakar, 2004).

Gavin, F. (2007). Street Renegades: New Underground Art. London: Laurence

King Publishing, Print. In-text reference: (Laurence King Publishing, 2007).

Gleaton, K.M. (2012). Power to the People: Street Art as an Agency for Change.

Retrieved from website:

https://conservancy.umn.edu/bitstream/handle/11299/133428/Gleaton,%20Kristina%20M

LS%20Thesis.pdf;sequence=1. In-text reference: (Gleaton, 2012).

Gurung, R. (2011). Paubha Painting: The Traditional Art of Nepal. Retrieved from website:

https://www.academia.edu/23860855/. In-text reference: (Gurung, 2011).

Hannan, C.B. (2013). "Out of the Studio and Into the Street": Art and Artists for Social Change, New York City 1966-1976. In-text reference: (Hannan, 2013).

Hans, W.H. (2009). 100 Contemporary Artists A-Z (Taschen's 25th anniversary

special Edition, pp. 40) Taschen America. In-text reference: (Hans, 2017).

Kathmandu Metropolitan City Office Introduction (2012). Kathmandu Metropolitan city Office. Retrieved from website: https://en.wikipedia.org/wiki/Kathmandu#cite note-KTM_intro-19. In-text reference: (Kathmandu Metropolitan Office, 2012).

Kohlstedt, K. (2007). The Banksy Paradox: 7 Sides of the World’s Most Infamous Street Artist Web Urbanist From Urban Art & 3D Graffiti to Abandoned Cities. Retrieved from website:

https://weburbanist.com/2007/07/19/banksy-paradox-unofficial-guide-to-the-worlds-

most-infamous-urban-guerilla-street-artist/comment-page-2/. In-text reference: (Kohlstedt, 2007).

Laurel, A. (2010). “Street Art, Sweet Art? Reclaiming the “Public” in Public Place, "Journal of Consumer Research. 37(3): 511-529.

Macdonald, W.A., & Stahl. V.A. (1979). Newar Art: Nepalese Art during the Malla Period. New Delhi: Vikas Publishing House. In-text reference: (Macdonald, 1979).

Mary, S. (1982). Nepal Mandala: A Cultural Study of the Kathmandu Valley. Princeton University. Retrieved from website:

https://en.wikipedia.org/wiki/Kathmandu-Valley#cite-note-3.

In-text reference: (Mary, 1982).

National Population and Housing Census. (2011). (National Report) Central Bureau of Statistics (Nepal). Retrieved from website:

https://en.wikipedia.org/wiki/Nepal#cite_note-14. In-text reference: (Central Bureau of Statistics, 2013).

Seres, L. (2018). Graffiti vs. Street art. Retrieved from website:

http://www.columbia.edu/~sl3731/graffitiART. In-text reference: (Seres, 2018).

Shakya, M.B. (2011). "Paubha Paintings", Arts of Nepal. Retrieved from website:

http://www.artsofnepal.com/nepali-art-news/16/paubha-paintings.html. In-text reference: (Shakya 2011).

Stowers, G.C. (1997). An essay concerning some forms of graffiti as art. Retrieved

from website: http://www.graffiti.org/faq/stowers.html. In-text reference: (Stowers 2016).

The World Factbook: Rank order population. CIA. Retrieved from website:

https: //en.wikipedia.org/wiki/Nepal#cite_note-14. In-text reference: (CIA, 2017).

Turner, E. (2018). Kathmandu's Eclectic Street Art Brings the City to Life. Retrieved from website: https://theculturetrip.com/asia/nepal/articles/kathmandus-eclectic-street-art-brings-the-city-to-life/. In-text reference: (Turner, 2018).

Turner, E. (2015). Political Street Art in Kathmandu. Retrieved from website:

http://www.elenturner.com/political-street-art-kathmandu/. In-text reference: (Turner, 2015).

Vassalo, E.A. (2016). The evolution of Street Art: Graffiti. Retrieved from website:

https://medium.com/@Eric_INK/bill-hillman-s-bini-faces-san-franciscothe-evolution-of-street-art-63b3948d6022. In-text reference: (Vassalo 2016).

Vesnik, A. (2015). Street Art of Nepal. Retrieved from website:

https://www.widewalls.ch/street-art-for-nepal-earthquake-relief/. In-text reference: (Vesnik, 2015).

Vincent, J. (2017). Graffiti’s Journey from Vandalism to Art in San Fernando Valley.

Retrieved from website:

https://premiumsignsolutions.com/graffitis-journey-from-vandalism-to-art-in-san-fernando-valley/. In-text reference: (Vincent, 2017).

Weisel, D.L. (2009).“Graffiti.” U.S.Department of Justice.gov. In-text reference: (Weisel, 2009).

Young, A. (2012). Criminal Images: the affective judgment of graffiti and street art. Crime, Media, Culture 8(3):297-314.




DOI: http://dx.doi.org/10.18533/journal.v9i2.1827

Refbacks

  • There are currently no refbacks.




.............................................................................................................................

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License

.............................................................................................................................

If you find difficulties in submitting manuscript please forward your doc file to support@theartsjournal.org. Our support team will assist you in submission process and other technical matters.

In order to get notifications on inbox please add theartsjournal.org in your email safe list.

Journal of Arts and Humanities (Print) ISSN:2167-9045

Journal of Arts and Humanities (Online) ISSN: 2167-9053

[Journal of Arts and Humanities previously published by MIR Center for Socio-Economic Research, MD, USA. From February 2018 this journal is published by the LAR Center Press, OR, USA]