A Response to Cultures of Resistance

Last Thursday, my class watched a documentary directed by Iara Lee at the Beloit International Film Festival (BIFF) called Cultures of Resistance. The film interviewed a variety people in several locations across the globe, their one common factor being their active resistance to an aspect of society. Some resisted through violence, such as in the Congo, while some through peaceful activism, like the Burmese monks. A majority of those interviewed in the film, however, express their discontentment with their cultures through art.

In Brazil, musicians turn machine guns into guitars and play for the kids in the slums. Lebanese refugees use photography, film-making and music tell their stories. And in Iran, the story that intrigued me most, street artists use graffiti as a weapon against suppression.

The duo in the film call themselves Tehran Ratz. Because of the uncontrollable nature of their art (graffiti is outlawed in Iran), and the highly political messages they create in their pieces, the pair's work is trying to be stifled by the Ahmadinejad Regime. Despite the illegality of their actions, they continue their actions in hopes of portraying a different view of Iran citizens to other countries, and to relay messages regarding politics to their fellow Iranians.

Here is a clip from Cultures of Resistance in which the Tehran Ratz talk about their work and their country:

Graffiti artists create some of the truest expressions of self expression and political statements since, unlike most artists, their aim is usually not to be shown in galleries or museums. Instead, their main intent is simply to get a statement out. Because these artists don't have to worry about getting their name into highly selective circles in the art world (which is extremely, extremely difficult to do, even for the most talented artists), they are free to convey whatever message they wish without worrying about their reputation or financial repercussions. In my next post, I will continue my discussion on graffiti and it's highly political nature. I also hope to touch upon legal graffiti and rarities in the field, such as the extremely famous and successful street artist Banksy.