National Art Education Association

An Art of Resistance From the Street to the Classroom

Author(s): SHENG KUAN CHUNG
Source: Art Education, Vol. 62, No. 4 (July 2009), pp. 25-32
Published by: National Art Education Association
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 Instructional Resources

An Art of

t <at

From the Street to the Classroom

BY SHENG KUAN CHUNG

ooted in graffiticulture and itsattitude Recommended for Grades 9-12

WjJWA
AksL toward theworld, street art is regarded
as a
postgraffiti movement (Bou, 2005;

MacNaughton, 2006). Street art encompasses a wide array oof

media and techniques, such as traditional spray-painted tags,
Learning Objectives
stickers, stencils, posters, murals, paper cutouts,
photocopies, While participatingin theactivitiessuggestedby
mosaics, street installations, and video this instructional resource, students will acquire
performances, projec
a of how Banksy s art
deeper understanding
tions displayed in urban streets (Bou, 2005). It represents the
addresses the processes of public interaction,
desire of humans to leave traces of their existence in the public intervention, and dialogue involved in street art.
Students will:
sphere. As Lunn (2006) explains, "It has a rawness you don't
s
describe, analyze, and interpret Banksy
get through other forms ofmedia. It is the voice of theworld street art to explore the social and
political
around us" (p. 4). issues it raises;

participate in a creative writing to

activity
As a vernacular art form, street art, such as the work of
understand s work;
Banksy
British artist Banksy, deals with activism, reclamation, and
investigate street art in their urban
subversion and allows artists a platform to reach a broader neighborhoods in terms of its
symbols,
artistic techniques, and meanings to make
audience than traditional art forms. Street art can serve to connections to their lives and the lives of

engage students in critical dialogue about art and visual culture

others;

demonstrate how art addresses social issues

while they collectively explore the issues it raises. This Instruc
a T-shirt that communicates an
by stenciling
tional Resource describes a learning unit for
high school important social issue or questions a social

students where they can address social and political issues by practice;

examine the significance of culture

studying street art, specifically thework of Banksy.
jamming1;
and public intervention
bywearing the shirt
theydesigned and gatheringfeedbackfrom
thepublic.

July 2009 / ART EDUCATION 25

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 Figure 1. Street art by Banksy. Photograph taken by Alex MacNaughton, from his book London Street Art (2006).
Reprinted with permission from photographer.

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 Instructional Resources

About Banksy and His Art

In contrast to government-commissioned public art, street art is illicit and
subversive in nature. Therefore, most street artists, use
including Banksy,
to avoid legal prosecution for vandalism.
pseudonyms Although Banksy
has traveled extensively across the world to create site-specific pieces, has
exhibited in3major museums, and has had his work auctioned at Sotheby's in
London, his identity remains mysterious. He disguises himself while working
on his street and refuses to reveal his This so-called "art
projects identity.
terrorist," according to Tristan Manco (2002), "was born in 1974 and raised in
Bristol, England. The son of a he trained as a butcher
photocopier engineer,
but became involvedingraffiti
during thegreatBristolaerosol boom of the
late 1980s" (p. 74).

Banksy's street art focuses on the processes of intervention, public

engagement, and dialogue. He travels across the globe to stimulate political
on social issues art, often in
dialogue by creating site-specific, ephemeral
combination with stenciling techniques. work creates provoca
Banksy's
tive sights that force pedestrians to question their everyday surroundings,
art. His stenciled street art often voices
rekindling the functionality of public
sentiments felt by those living in urban environments and those who have
on established
been marginalized. Banksy's pieces lead viewers to reflect
social practices, the treatment of animals in zoos, the power of the
including
art world to define standards, and the reluctance of populations to confront
social and cultural aspects of who we are and what we do.

The Legality of Street Art:GraffitiRemoval Hotline

The piece shown in Figure 1was seen on Pentonville Road in the London
of Islington inMay 2006. Itwas considered offensive and was soon
borough
washed offby the Islingtoncitycouncil inchargeof graffiti
removal.Banksy
created this piece using spray paint, cardboard stencils, and several freehand
brushstrokes. ifnot all, of Banksy's work shows a distinctive
Most, style that
instantly readable. This street painting appears
is clean and to illuminate the
artistand theLondon citygovernmentby
ongoing battlebetween thegraffiti
a
portraying boy defacing the fabricatedpublic notice.

Dialogue Activity
Teachers this picture to initiate a discussion
can use about street art and its

legality, including issues of vandalism, public/private spaces, and activist/

political art. Questions for dialogue include:

1.What do you see in this picture?

2.What is theboy doing?Why isonly thenumberpainted over?

3. Is this work created one person or many How did the artist
by people?
do it?
4. Where was this picture presented? Is the location of this picture

important, and why?

5.What is the artist trying to communicate? What do you think the picture
means?
6. How the artist feel about art or vandalism,
does graffiti? Is this and how
do you judge it?Should thecityremove thispicture?How would different
parties reach a compromise over
graffiti?
7. Is the street a or a private space owned
public space by the city
are in public space?
government? Why only commercial signs allowed
What kinds of art can be considered acceptable in public spaces?

8.What kinds of art can be considered activist or political art? Is this work

political?

July 2009 / ART EDUCATION

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 ^^^^^^^^^^ ^^hEh

Figure 2. A playful boy with bucket by Banksy on theWest Bank barrier. Photograph taken by Richard Shotton/i-globe.org.
Reprinted with permission.

Breaking the Barrier Dialogue Activity

to students, teachers should
Banksy's visit to the Israeli West Bank barrier in 2005 appeared in Before showing Figures 2 and 3
news headlines. his visit, he made several encourage them to share what they know about theWest Bank
During thought-provoking
on the barrier (see Figures 2 and 3) that barrier and provide further background information ifnecessary.
pictures 425-mile-long
Israel has constructed to separate itself from the Palestinian territo These can be used to discuss issues of living with terrorism
images
ries. While of the barrier that it provides in relation to the barrier and illuminate the importance of context
supporters argue regional
street art. Street art can add a powerful
stabilityand securityby protectingIsraelicivilians fromPalestinian
to understanding subversive

terrorism, opponents make the case that it infringes on the rights to a site ifdisplayed with the sites context inmind. Ques
meaning
Israel to tionsfordialogue using Figure 2 include the following:
of the Palestinian people. The United Nations has ordered
dismantle the barrier because itviolates international laws. According 1. Describe what you see.
to Banksy, theWest Bank barrier turns Palestine into the
essentially 2.What isBanksy tryingto tellviewers throughthispicture?
world's largest open prison. 3. What issues does this picture raise?
possible
4. Is the site where this picture is shown important? How so?

5. How would you interpretthispicture ifyou saw it inyourneigh

borhood?Would thepicturesmeaning change ifseen on theWest
Bank barrier versus on your street wall? How so?
neighborhood

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 Instructional Resources

&3t

with permission.
Figure 3. Street art stenciled by Banksy on theWest Bank barrier. Photograph taken by Richard Shotton/i-globe.org. Reprinted

Creative Writing Activity Kissing Policemen

Afterbrieflydiscussing theWest Bank barrier,teacherscan use SeveralofBanksy's imagesofkissingpolicemen (see Figure4)
of these
Figure 3 to facilitate a creative writing activity. To begin, teachers have been seenin London city streets. The representation
can divide studentsintopairs and thenshow them the imageof the policemen forces pedestrians to revisit their conceptions of homo

girl.Ask each pair of studentstowrite one storyabout thework from sexuality and masculinity and to confront the issue of homophobia.
theperspectiveof thegirl in thepicture,a viewergazing upon the In societies, including that of America, heterosexual couples
are

picture,
or the artist who made the image. Encourage the students to oftenfreeto show theiraffectioninpublicwhile homosexual couples
use descriptive languageand a first-personperspectiveas theywrite cannot. These latter displays of affection are considered a social taboo.

theirstory,chroniclingthe thoughtsof theirchosen character.They Banksy s kissingpolicemen can be used to explore such concerns,
can include all elements seen in the picture and any metaphors or and hopefullytodevelop respecttowarddifferencesamong human
similes associated with it.Have the students share their writing at the In America, it is not uncommon to hear school children use
beings.2
conclusion of this activity. homophobic language tohumiliate theirpeers ormake deliberate,
uninformed about are
malicious jokes. Students homosexuality
more likelyto formprejudices and use offensivebehavior towardgay
for initiating discussions about homosexu
people. Another direction
In other words,
ality is to introduce the concept of heteronormality.

July2009 /ARTEDUCATION

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 9tm I

Figure 4. Street art by Banksy. Photograph taken by Scott Davis. Reprinted with permission.

students need to understand that heterosexuals are the dominant 2. What is your first reaction to this picture? What responses is the

group in society,holding thepolitical power to legitimizeand picture meant to elicit from the viewer?
advance its own heterocentric cultural, economic, and educational 3.What is thepicture tryingto tellus?Are thereelementsyou
agendas. The dominant group defines, governs, and polices cultural would characterize as
symbolic?
values and social norms such as sexual relationships, marriage, 4. How think this picture was made?
do you
family structure, and parenthood from a heterocentric cosmology. 5. Where was this picture Is its location important, and
presented?
Heterocentric gender roles have permeated mainstream ideology
that controls almost every aspect of social practice and portrays
why?
6. Is this art, and why?
gay people as deviant, which in turn has a detrimental effect on gay
our
as 7. Are policemen authority figures in society? Is it socially
youth they struggle to understand themselves and construct their
acceptable to see
policemen act in this way? Would itbe more
identity.
ifone of the policemen was a woman, and how
socially acceptable
so? Are there other implicit messages in this picture?
Dialogue Activity
1. Teachers can use this 8. Can societies be truly equal and democratic? How does American
picture to explore homophobia and the
as a whole can we
concept of heteronormality. Questions for dialogue include: society discriminate against gay people? What
do tomake America a trulyequitable society?

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 Instructional Resources

Figure 5. Sweeping ItUnder theCarpet by Banksy. Photograph taken by Canonsnapper.

A Voice for theMarginalized fieldwork, document issues and stories important to the location, and
their findings. To conclude their investigation, students can
Banksy s spray-paintedimageentitledSweepingItUnder theCarpet
present
discuss the following questions about the street art world (Erickson,
(see Figure 5) was seen in Chalk Farm, London. to news
According
2002):
paper reporterArifaAkbar (2006), the imagedepicts a maid called
Leanne who cleaned the artist s room in a motel in Los Angeles. 1.Which people do members of the streetartworld judge tobe
Considering that in thepast only therichcould affordtohave their important?
portraitspainted, theportraitof themaid serves tohighlightthe 2. What sort of places do members of the street art world meet to
democratization of subjects inworks of art. share activities and ideas?
3. What activities are essential tomaintaining street art culture?
A Fieldwork Investigation
4. What important ideas are members of the street art world
art can be a voice for the marginalized.
This image illustrates how
engagedwith?
Teachers can use this image to prompt students to further investigate
This neighborhood inquirywill deepen students'understandingof
street art in their own neighborhoods and the voices that proliferate
streetartand allow themtogain firsthandknowledge of how street
can a fieldwork to
there. Teachers give assignment, asking students address social
artists, like Banksy, resist established social practices,
survey their neighborhood streets, document street art, and present it
issues, or mark traces of human existence.
to the class. Encourage students to take pictures and notes during the

July 2009 / ART EDUCATION 31

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 Studio Activity: Stenciling and Culture Jamming Assessment and Conclusion
Students can stencil T-shirts that illuminate or social Teachers can assess this unit through class participation,
challenge writing
practices, demonstrating their understanding of how art can act as an and studio production. Students should be able to artic
assignments,
intervention. First, ask students to individually an important ulate an understanding of street art and Banksy swork and apply it
identify
social issue or a questionable social practice and draw a black-and to a developing of activist art that initiates dialogue.
knowledge They
on this issue. Students
white image for stenciling a T-shirt based should examine such questions as: How do street artists mark their
need to understand that their images should address individually existence in the street? What issues does swork raise? What
Banksy
chosen issues or bring to light a questionable social practice. Remind issuedid you address and how did you approach it inyourwork?
students that because they will
use their
images tomake stencils, What responsesdo you hope to elicitfromtheaudience through
theyshould be simple, instantlyreadable,and inblack andwhite (the your piece? How is your own work similar to or different from that of
black area will be the cutout area where the ink is filled). Then intro or other street artists?
Banksy
duce to transfer the images onto the T-shirts.3
stenciling techniques Street art is omnipresent in urban streets and is a rich source of
The ultimate goal of the studio project is to allow students to enter the
inspiration for artistic creativity. From this learning unit, students
real world with their art to increase public awareness about impor
will begin to understand that street art reflects the unedited world
tant social can participate in culture
issues. They jamming using the inwhich we live. It possesses the aesthetic voices of the ordinary
communication
approach.4 so, To do
encourage students s street art, in
guerrilla and enables resistance for the marginalized. Banksy
to wear their designed T-shirts as human billboards while soliciting
can to think about various social and
particular, guide students
comments or reactions from the public. Culture jamming moves issues and to reflect upon the immediate, ifnot unjust, world
political
students from passive spectatorship toward active involvement
in which live, to transform that world, and to possibly initiate
they
with culture production.
change.

Kuan isAssociate Professor and Graduate Program

Sheng Chung
Director ofArt Education in theDepartment ofCurriculumand
Instruction at the University ofHouston, Texas. E-mail:skchung@
uh.edu

RESOURCES ENDNOTES
1Culture over
http://www.banksy.co.uk/ jamming is an activist tactic for breaking corporate domination
what we consume and experience (Lasn, 1999). Culture jammers appropriate
http://www.instructables.com/
mainstream media constructs or produce alternative cultural forms to illumi
http://www.youtube.com
nate important issues or question social practices.
2 The lack of discussion about
REFERENCES homosexuality or gay issues in schools has

Akbar, A. (2006, May 16). Banksy takes to streets to highlight Aids crisis. The encouraged ignorance and fear about homosexuality. A consequence of igno
rance is intolerance based on sexual orientation, leading people and several
Independent. Retrieved December, 2008, from http://www.independent.
co.uk/ states in theUnited States to adopt practices that are openly discriminatory

Bou, L. (2005). Street art: The sprayfiles. New York: Collins Design, Monsa.
Erickson, M. (2002). What are artworlds and why are they important? InM.
Erickson & B. Young (Eds.), Multicultural artworlds: Enduring, evolving,
and overlapping traditions (pp. 17-25). Reston, VA: National Art Education
Association.
Fischer, T. R. (1982). A study of educators' attitudes toward homosexuality.
(Fischer, 1982; Lampela, 1996).
3Websites such as YouTube.com and Instructables.com have numerous
step
by-step video demonstrations for art teachers unfamiliar with stenciling tech
or poster board
niques. A stencil can be made out of paper, translucent mylar,
and the image can be set using fabric spray paint, which is recommended to
get a cleaner result. Due to possible health hazards, spray paint should not be

Unpublished doctoral dissertation, University of Virginia, Charlottesville, used in the classroom.

VA. 4 Guerrilla communication is a communication method and a political inter
Lampela, L. (1996). Concerns of gay and lesbian caucuses within art, vention using street performance/events or public engagements designed to
education, and art education. Art Education, 49(2), 20-4.
disrupt or change the public's perceptions.
Lasn, K. (1999). Culture jam: The uncooling ofAmerica (TM). New York: Eagle
Brook.
Lunn, M. (2006). Street art uncut. Australia: Craftsman House.

MacNaughton, A. (2006). London street art. London: Prestel.

Manco, T. (2002). Stencil graffiti.New York: Thames & Hudson.

32 ART EDUCATION / July 2009

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