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Related image: Learning is (the classic view)
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As their common and scientific names suggest, these unusual raptorial insects do, indeed, look quite mantid-like. The resemblance is superficial, however, and the two groups are only distantly related. Mantidflies occupy a much higher position on the evolutionary tree of life with a pupal stage in their life-cycle like butterflies and beetles. They are in the order Neuroptera and are closely related to the more familiar green lacewings. Mantids metamorphose gradually from nymph to adult, with their closest relatives being cockroaches and termites. This one was attracted to a high-intensity moth light in Costa Rica.
Hey guys!
So sorry I missed yesterday! I passed right out from the tag sale xD Oh well, I guess it's okay if I miss a few days X)
I've been snapping a lot of non-doll related photography lately and I really like the outcome. I'm doing it mostly because I want a back up plan to when I'm older and getting a job. I will be going into directing, but my fall back plan is photography...And lets face it: I can't photograph dolls forever. LOL JK :3
Ya like this photo? I found this clearing down a small road off mine and I now have a new place to relax. It's so peaceful there I thought I was in wonderland. Hence the name xD
Oh! I need to tell ya'll the grand total of my tag sale. We made....-dramatic drum roll-.......$218.30! That's a lot for a bunch of stuff at a tag sale :3
WEll, I'm so so so tired right now. I think I'm going to edit the final ohotos I have and go to bed :) Bye and le night to all my friends on the East Coast! :D
Daily Quote: "People say you can't live without love...I think Oxygen is more important."
Lomo LCA + double exposure mod (by Roger Lean) + Splitzer + triple exposure
(semi-random naming technique via Google Scholar)
The woman is from a jewellry shop just below my work studio (is that the Bond Girl from Skyfall?) and the neon signs are from a pop-up neon sign shop in Soho
Possibly related to the Mitchell, Turner and Taylor families from the Dajarra or Dobbyn areas near Cloncurry in Queensland, Australia.
The greater honeyguide (Indicator indicator) is a bird in the family Indicatoridae, paleotropical near passerine birds related to the woodpeckers. Its English and scientific names refer to its habit of guiding people to bee colonies. Claims that it also guides non-human animals are disputed.
The greater honeyguide is a resident breeder in sub-Saharan Africa. It is found in a variety of habitats that have trees, especially dry open woodland, but not in the West African jungle.
The greater honeyguide is about 20 cm long and weighs about 50 g. Like all African honeyguides, it has bold white patches on the sides of the tail. The male has dark grey-brown upperparts and white underparts, with a black throat. The wings are streaked whitish, and there is a yellow shoulder patch. The bill is pink.
The female is duller and lacks the black throat. Her bill is blackish. Immature birds are very distinctive, having olive-brown upperparts with a white rump and yellow throat and upper breast.
The greater honeyguide feeds primarily on the contents of bee colonies ("nests"): bee eggs, larvae and pupae; waxworms; and beeswax. (Honeyguides are among the few birds that can digest wax.) It frequently associates with other honeyguides at bees' nests; immatures dominate adults, and immatures of this species dominate all others. Like other honeyguides, the greater honeyguide enters bees' nests while the bees are torpid in the early morning, feeds at abandoned hives (African bees desert more often than those of the temperate zones), and scavenges at hives robbed by people or other large animals, notably the ratel or honey badger.
The greater honeyguide is known to guide people to the nests of wild bees.
Guiding is unpredictable and is more common among immatures and females than adult males. A guiding bird attracts a person's attention with wavering, chattering "'tya' notes compounded with peeps or pipes", sounds it also gives in aggression. The guiding bird flies toward an occupied nest (greater honeyguides know the sites of many bees' nests in their territories) and then stops and calls again. As in other situations, it spreads its tail, showing the white spots, and has a "bounding, upward flight to a perch", which make it conspicuous. If the followers are native honey-hunters, when they reach the nest they incapacitate the adult bees with smoke and open the nest with axes or pangas (machetes). After they take the honey, the honeyguide eats whatever is left.
One study found that use of honeyguides by the Boran people of East Africa reduces their search time for honey by approximately two-thirds. Because of this benefit, the Boran use a specific loud whistle, known as the fuulido, when a search for honey is about to begin. The fuulido doubles the encounter rate with honeyguides. Another study of the Yao honey-hunters in northern Mozambique showed that the honeyguides responded to the traditional brrrr-hmm call of the honey-hunters. The chances of finding a bee-hive were greatly increased when the traditional call was used. That study reported anecdotes from Yao honey-hunters that adult but not juvenile honeyguides respond to the specific honey-hunting calls.
The tradition of the Bushmen and most other tribes says that the honeyguide must be thanked with a gift of honey; if not, it may lead its follower to a lion, bull elephant, or venomous snake as punishment. However, “others maintain that honeycomb spoils the bird, and leave it to find its own bits of comb”.
Some Greater Honeyguides stopped this guiding behavior, or mutualism, in parts of Kenya, due to a loss of response from people in the area.
Many sources say that this species also guides honey badgers (ratels). Friedmann (1955, quoted by Harper) notes that Sparrman said in the 18th century that indigenous Africans reported this interaction, but Friedmann adds that no biologist has seen it. According to Dean and MacDonald (1981), Friedmann does quote reports that greater honeyguides guide baboons and speculates that the behavior evolved in relation to these species before the appearance of humanity. However, they state,
In addition to that listed by Friedmann (1955:41-47), the only recent record is of a greater honeyguide giving its guiding call to baboons at Wankie Game Reserve, Zimbabwe (C. J. Vernon, pers. comm.). However, Vernon did not see a positive response by the baboons to the honeyguide. No additional records of honeyguides and ratels have been reported since Friedmann (1955) and the first-hand accounts given in his review in support of this association are all of incomplete guiding sequences. No biologist has ever reported this association.
Dean and MacDonald go on to express doubt that honeyguides guide other animals and suggest that the behavior may have evolved with "early man". It has also been acknowledged that bee colonies are seasonally very common in Africa and ratels probably have no trouble finding them.
Another argument against guiding of non-human animals is that near cities, where Africans increasingly buy sugar rather than hunting for wild honey, guiding behavior is disappearing. Ultimately it may disappear everywhere.
The greater honeyguide also catches some flying insects, especially swarming termites. It sometimes follows mammals or birds to catch the insects they flush, and joins mixed-species flocks in ones and twos. It has been known to eat the eggs of small birds
In addition to being a predator of insects and a mutualist with its follower species, the greater honeyguide is a brood parasite. It lays white eggs in series of 3 to 7, for a total of 10 to 20 in a year. Each egg is laid in a different nest of a bird of another species, including some woodpeckers, barbets, kingfishers, bee-eaters, wood hoopoes, starlings, and large swallows. It is common for the female Greater Honeyguide to break the host's eggs when laying her own. All the species parasitized nest in holes, covered nests, or deep cup nests. The chick has a membranous hook on the bill that it uses, while still blind and featherless, to kill the host's young outright or by repeated wounds.
Wikipedia
Related BoingBoing post here. The Yuri tattoos endow their wearer with antigravity superpowers. If you press the red launch button, the person shoots up into the air like a booster rocket.
2014 FIFA World Cup in Brazil
Cheers for Team Korea
June 23, 2014
Gwanghwamun Square, Seoul
Related Articles
-Cheon Wa Dae-
Cheers for team Korea fill the country, despite loss
english1.president.go.kr/korea/korea.php?srh%5Bview_mode%...
-Korea.net-
-English
Cheers for team Korea fill the country, despite loss
www.korea.net/NewsFocus/Sports/view?articleId=120124
Ministry of Culture, Sports and Tourism
Korean Culture and Information Service
Korea.net (www.korea.net)
Official Photographer: Jeon Han
This official Republic of Korea photograph is being made available only for publication by news organizations and/or for personal printing by the subject(s) of the photograph. The photograph may not be manipulated in any way. Also, it may not be used in any type of commercial, advertisement, product or promotion that in any way suggests approval or endorsement from the government of the Republic of Korea. If you require a photograph without a watermark, please contact us via Flickr e-mail.
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2014 브라질 월드컵
조별예선 한국 대 알제리 길거리 응원
2014-06-23
광화문광장
문화체육관광부
해외문화홍보원
코리아넷
전한
King-Seeley Thermos - Star Wars Metal Lunch Boxes with related thermos
* Star Wars
* Empire Strikes Back - Falcon Cockpit
* Empire Strikes Back - Yoda/Luke
* Return of the Jedi
English:
This scheme must be seen side by side with a wide photo of the related area of The Sistine Ceiling.
It's very clear to everyone that the root of the tree of the so called forbidden fruit would be a great idea as the starting point of my personal message involving the whole Sistine Ceiling. And sure it is.
There are two key images there: the rock depicting a head in profile view and, of course, the Aum symbol, the Hindu representation of the Absolute.
But there's more: in front of the rock as a head in profile view, you can notice a smaller Aum symbol on the trunk, and inside it, a key.
The message is clear because I already knew the symbolic logic that defines the precise location of the last pearl. (The last pearl is the one outlined by an elbow on the scene known as "Moses And The Serpent Of Brass", actually, "The Hymn Of The Pearl").
Very important to see how the hand of the nude carrying oak acorns touches the arm of the angel holding the sword. It's easy to spot his middle finger making a direct connection between the angel's arm and one oak acorn. Plus the two parallels fingers symbolizing Gemini. I called that detail as the second step that leads to the crucial link of an oak acorn and the beheading.
The gesture of the Putti behind the Prophet Isaiah, highlighted by the cloth forming an Aum symbol, indicates the path to follow. In the sequence, which leads to the beheading scene on "Judith And Holofernes", a very secret information will be revealed before, on the painting of the Delphic Sibyl.
Português:
Este esquema deve ser visto lado a lado com uma foto ampla da área relacionada do Teto da Capela Sistina
É claro para todos que a raiz da árvore do chamado fruto proibido seria uma grande idéia como o ponto de partida da minha mensagem pessoal envolvendo todo o teto de Sistine. E é mesmo.
Há duas imagens fundamentais nesta área da pintura: a rocha que descreve uma cabeça na vista de perfil e, naturalmente, o símbolo de Aum, a representação hindu do Absoluto.
Mas há mais: na frente da rocha que é uma cabeça vista de perfil, você pode notar um símbolo Aum menor no tronco, e dentro dele, uma chave.
A mensagem é clara para mim porque eu já conhecia a lógica simbólica que define a localização precisa da última pérola. (A última pérola é aquela delineada por um cotovelo na cena conhecida como "Moisés E A Serpente De Bronze", na verdade, "O Hino Da Pérola").
Muito importante ver como a mão do nu carregando nozes de carvalho toca o braço do anjo segurando a espada. É fácil detectar seu dedo médio fazendo uma conexão direta entre o braço do anjo e uma noz de carvalho. Além disso, nota-se, também, dois os dedos em paralelo: o sinal do signo de Gêmeos. Eu chamei esse detalhe de segundo passo, que leva ao elo crucial de uma noz de carvalho e uma decapitação.
O gesto do Putti atrás do Profeta Isaías, destacado pelo pano que forma um símbolo de Aum, indica o caminho a seguir. Na seqüência, que leva à cena de decapitação em "Judith e Holofernes", uma informação muito secreta será revelada antes, na pintura da Sibila Délfica.
...in related news, my film camera broke. My third roll of film came back blank for whatever reason, and then the film advancement thing stopped working completely, and then the lens literally broke off into my hand.
Three similar colored Wild Horses (Equus ferus) run through the sage country of Beaver Rim in central Wyoming. I wonder if these three are related in that their colors are so similar.
Related: THE future of Jacks hardware store, in Colchester, is in doubt.
Jacks Famous Supplies, in St Nicholas Street, is struggling with falling sales.
The shop, which has been in the town since 1946, has been forced to cut back stock.
Owner Dave Williams said he could only guarantee it would remain open for three more months.
The cabinet will consider plans to bring back the much-loved historic building at 5-6 St Nicholas Street in Colchester as part of a town centre revival, which includes the opening of the Curzon cinema and revamping The George Hotel.
“Jack’s is an important part of the character and history of Colchester’s town centre,” said councillor Paul Smith.
“It is a very important building, cherished by many residents.”
Jacks shut its doors in 2013, after 68 years of business.
For 35 of those years, it was owned by Dave Williams and was known for providing unique items, such as camping and winter gear that was not available in chain stores.
Speaking at the time of the closure, Mr Smith suggested the building would be best suited for more housing, but now suggests it could bring jobs to Colchester. It will be discussed January 31.
Address: 5 St Nicholas St, Colchester CO1 1DW
© 2019 Tony Worrall
The Hex Murder House in Rehmeyer's Hollow, York County, PA.
The house were Pow Wow Shaman Nelson Rehmeyer was strangled, beaten and burned to death.
Yesterday I found out that someone in my life (okay, it's my boss) is closely related to a locally notorious convicted murderer. (he was 14 when he was convicted) A WITCH MURDERER. Yes, you heard me correctly! This story is EPIC! It's got the Marietta River Witch in it (Nellie Noll! LOVE HER!), hex's, locks of hair, curses, demons, and more! I learned of the story yesterday at work and have since been all over York County visiting the key places. I was traveling down the hollow thinking the house was way up in the woods when BAM, the house was right in from of me!
WHAT A STORY! This was considered a huge news story and the court case was closely followed by the media. Read this for the story, it's from the houses own website www.hexmurder.com/ :
Rehmeyer's Hollow, York County, Pa.: Pennsylvania Dutch Hex Murder
When the Pennsylvania Dutch began immigrating from Germany in the 18th century, they brought with them a tradition of folk magic and healing called pow-wowing; on November 27, 1928, that ritual would lead to murder.
John Blymire, born in York, Pa., in 1895, was by all accounts an unremarkable boy in all but one respect. He wasn't bright, popular or good looking, but he shared his father and grandfather's legacy: the supernatural. Like his forebears, Blymire was said to have healing powers. When he was just five years old, he seemed to be wasting away. We might attribute that to malnutrition; his kin blamed it on a hex and took him to the area's most renowned "hexenmeister," Nelson Rehmeyer. Rehmeyer cured the boy. Blymire worked in Rehmeyer's garden for some time, and developed his own reputation as a healer.
Yet he was periodically convinced that he was under a hex again himself, and he met others who thought they suffered the same problem. One such hexing victim was Milton J. Hess, a prosperous farmer who'd encountered recent bad luck; another was John Curry, an abused 14-year old who worked at a cigar factory with Blymire. Blymire consulted with Nellie Noll, known as the River Witch of Marietta. She told him that Rehmeyer was behind all three hexes, and that they could break them by burning Rehmeyer's copy of pow-wow's foundational book, Long Lost Friend.
Blymire and Curry visited Rehmeyer's small farmhouse. The three chatted for some time, while Blymire tried to compel Rehmeyer mentally to give him the book. Unsurprisingly, this tactic failed. The night before Thanksgiving, Blymire and Curry returned, this time with Hess's brother Clayton—and some rope. Blymire strangled Rehmeyer, Curry hit him over the head with a block of wood, and he died. They set the house on fire to get rid of the evidence, but failed to burn it down. After a neighbor discovered Rehmeyer's body, the police soon found the three perpetrators, and they each confessed, were tried and were found guilty.
Rehmeyer's great-grandson has restored the Rehmeyer house and hopes to use it to highlight Pennsylvania Dutch history. The story of the hex murder and the idea of the haunting presence of the wronged witch are the main draw.
Many companies have graves in Okunoin, the largest graveyard in Japan. These graves are for former company employees and their families and often feature gravestones that are related to the companies’ business, such as the one belonging to coffee company, UCC, seen here.
PictionID:53765933 - Catalog:14_032260 - Title:Non-Program Related Details: Star 2 Sub/Subersible at Catalina Island Date: 04/25/1969 - Filename:14_032260.tif - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
The Thirty-First Session of WIPO’s Standing Committee on Copyright and Related Rights (SCCR) took place in Geneva, Switzerland from December 7 to December 11, 2015.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Acting NASA Administrator Robert Lightfoot testifies during a House Subcommittee on Commerce, Justice, Science, and Related Agencies hearing to review the Fiscal Year 2018 budget request for the National Aeronautics and Space Administration, Thursday, June 8, 2017 at the Rayburn House Office Building in Washington. Photo Credit: (NASA/Aubrey Gemignani)
www.youtube.com/watch?v=0g_c-iD_htc&feature=related
When i heard about the coming day
wish i could wake up from this dream
in it i see a family photographed
and there you are, tucked in the scene
and theres a jealous net inside my chest
theres a hurt and sadness there
maybe i'd tell you all about it
if i thought you'd care
heavy heart gets lighter by your side
but there are thoughts i'd wish i'd heard
if they ask you how i'm holding up
say i'm holding out for the words
whats the sense in being so sensitive?
can i trade this thin skin for a shell?
there are somethings i've got no feeling about
but there are some things i can tell
heavy heart get lighter by yourself
it's been so long since you capsized
and you've been lying out there in the sun
has it begun? has it begun?
heavy heart, have you heard?
that i could use the words
Sarah Harmer
You can read related story about this house HERE
This is our favorite place to hang out together, my late Grandfather have five children, as far as I know, so when we all came together usually on Eid uL-Fitr, it will get crowded here with all family members bring their children here, very happening indeed. There is a small TV on that table, I would say a "broken" TV set, the colors seem to fade away and sometimes the TV went off for no reason, I don't know, I was small at that time, but the most important thing is we enjoy the "broken" TV, we make fun out of it, I can almost hear the joy and laughter here but at the same time feel emptiness inside my heart.
We exchange stories here, a kids story, a fun story. I took the picture just the way it is, I didn't touch, remove or reposition anything here, I just came stop by just to look what's going on here, actually I'm not on purpose to visit here, I've another assignment but pass along my grandfather house, so we decided to stop by, this house has been left abandon for almost ten years, left unoccupied. My grandmother still alive but too weak to be left alone here, most of her neighbor have move to other pace, so for a security reason, her children decided to take care of her on rotation basis.
I took this picture last year, I don't know whether this house is still standing on the ground or slowly began to crumble to the ground in bits and pieces.
Sorry about my "Bad" writing, I'm trying my best to share with you my story, a life story.
Thought I'd bring out some Star Wars related photos from my vault since 'The Force Awakens' drops in theaters tonight.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
Marerijk | "Moortje" 06/03/2025 14h09
For environmental reasons, Efteling is going to electrify its steam trains. The first locomotive to be used after the conversion is Aagje. Moortje still runs its rounds on steam, as seen here just after leaving the Marerijk station.
Efteling Stoomtrein Maatschappij
De Efteling Stoomtrein Maatschappij, the Efteling Steam Train Company is the name for all activities related to the attractive running of steam trains in the Efteling. From one of the two stations (Marerijk and Station De Oost in Ruigrijk) the visitor can take a ride in a wagon pulled by an authentic locomotive, actually powered by steam. The ride on a 600 mm wide narrow gauge track passes almost all parts of the park and is therefore, in addition to a means of transport, an attraction in itself.
The equipment used for visitors are all real steam trains that were previously in use in the industry and were bought and adapted by Efteling. The exception is Trijntje, which was built especially for Efteling. The trains run on coal supplied by Rijnen Brandstoffen from Tilburg. It is a special mixture so that the trains can accelerate quickly and at the same time do not stink too much. In addition to the steam locomotives, there is a diesel train for service use.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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Kenia - Samburuland.
The Samburu are related to the Masai although they live just above the equator where the foothills of Mount Kenya merge into the northern desert and slightly south of Lake Turkana in the Rift Valley Province of Kenya.
They are semi-nomadic pastoralists whose lives revolve around their cows, sheep, goats, and camels. Milk is their main stay; sometimes it is mixed with blood. Meat is only eaten on special occasions. Generally they make soups from roots and barks and eat vegetables if living in an area where they can be grown.
Most dress in very traditional clothing of bright red material used like a skirt and multi-beaded necklaces, bracelets and earrings, especially when living away from the big cities.
The Samburu developed from one of the later Nilotic migrations from the Sudan, as part of the Plains Nilotic movement. The broader grouping of the Maa-speaking people continued moving south, possibly under the pressure of the Borana expansion into their plains. Maa-speaking peoples have lived and fought from Mt. Elgon to Malindi and down the Rift Valley into Tanzania. The Samburu are in an early settlement area of the Maa group.
Those who moved on south, however (called Masai), have retained a more purely nomadic lifestyle until recently when they have also begun farming. The expanding Turkana ran into the Samburu around 1700 when they began expanding north and east.
The language of the Samburu people is also called Samburu. It is a Maa language very close to the Masai dialects. Linguists have debated the distinction between the Samburu and Masai languages for decades.
Generally between five and ten families set up encampments for five weeks and then move on to new pastures. Adult men care for the grazing cattle which are the major source of livelihood. Women are in charge of maintaining the portable huts, milking cows, obtaining water and gathering firewood. Their houses are of plastered mud or hides and grass mats stretched over a frame of poles. A fence of thorns surrounds each family's cattle yard and huts.
Their society has for long been so organized around cattle and warfare (for defense and for raiding others) that they find it hard to change to a more limited lifestyle. The purported benefits of modern life are often undesirable to the Samburu. They remain much more traditional in life and attitude than their Masai cousins.
Duties of boys and girls are clearly delineated. Boys herd cattle and goats and learn to hunt, defending the flocks. Girls fetch water and wood and cook. Both boys and girls go
through an initiation into adulthood, which involves training in adult responsibilities and circumcision for boys and clitoridectomy for girls.
Association with the transition from warm to cold weather, and its related status as the season of the primary harvest, has dominated its themes and popular images. In Western cultures, personifications of autumn are usually pretty, well-fed females adorned with fruits, vegetables and grains that ripen at this time. Many cultures feature autumnal harvest festivals, often the most important on their calendars. Still extant echoes of these celebrations are found in the autumn Thanksgiving holiday of the United States and Canada, and the Jewish Sukkot holiday with its roots as a full-moon harvest festival of "tabernacles". There are also the many North American Indian festivals tied to harvest of autumnally ripe foods gathered in the wild, the Chinese Mid-Autumn or Moon festival, and many others. The predominant mood of these autumnal celebrations is a gladness for the fruits of the earth mixed with a certain melancholy linked to the imminent arrival of harsh weather.
This view is presented in English poet John Keats' poem To Autumn, where he describes the season as a time of bounteous fecundity, a time of 'mellow fruitfulness'.
While most foods are harvested during the autumn, foods particularly associated with the season include pumpkins (which are integral parts of both Thanksgiving and Halloween) and apples, which are used to make the seasonal beverage apple cider.
Source: Wikipedia, the free encyclopedia
Eden Camp Modern History Museum is a large Second World War-related museum near Malton in North Yorkshire in England.
It occupies a former Second World War prisoner-of-war camp of 33 huts. After the prisoners left, the camp was used for storage and then abandoned. Its grounds then became overgrown. As the museum was being set up, much clearing, as well as repair and renovation of the buildings, was required.
One of its buildings contains three human torpedoes and a "Sleeping Beauty" Motorised Submersible Canoe.The museum has fully restored a Super Sherman (M50) to its original working classic, amongst many other military vehicles which are now on display in the Heritage Hall - a new purpose built events & exhibition centre.
The museum also has a reproduction V1.
Original Use
Early 1942: The War Office identified and requisitioned the site from Fitzwilliam Estates. Tents were established inside a barbed wire enclosure.
Mid-1943: By then a permanent camp was completed and the first Italian prisoners of war were moved in.
End of 1943: By then the Italian prisoners of war were moved out.
Early 1944: The camp provided accommodation for Polish forces amassed in the North Yorkshire area in preparation for an invasion of Europe.
Mid-1944: By then the first German prisoners of war arrived at Eden Camp.
Early 1949: The last German prisoner of war left the camp.
1950 to 1955: Eden Camp was used as an agricultural holiday camp where guests paid for board and lodgings to work on local farms. School children stayed at Eden Camp during school holidays to learn more about the countryside and agriculture. 1952: It was used as a Ministry of Agriculture and Fisheries depot.
1955: The site was returned to Fitzwilliam Estates who leased it to Headley Wise and Sons who owned Malton Minerals. The huts were used for drying and storing grain and rearing pheasants on grain.
1985: Stan Johnson bought the site intending to set up a potato crisp factory. But three Italian ex-Eden Camp prisoners of war approached him seeking permission to look around the camp, and thus the idea of preserving the camp and opening it as a museum was born. By then the site had become severely overgrown with wild vegetation, which had to be cleared.
Museum Use
21 March 1987: Eden Camp Museum opened to the public. It is billed as the world's first Modern History Theme Museum and ten huts were used for display.
1990: Hut 24, the first of a series of five huts designated to display the military and political events worldwide between 1919 and 1945, opened.
1992: Eden Camp won the Yorkshire Tourist Board's 'Visitor Attraction of the Year' and came second in the England for Excellence English Tourist Board's Awards for Tourism.
1995: The last remaining empty hut opened and was dedicated to coincide with the 50th Anniversary VE Day celebrations. The museum also won its second Yorkshire Tourist Board 'Tourism for All' award.
1996: It won the award again.
1998: Eden Camp won the Yorkshire Tourist Board's 'Visitor Attraction of the Year' award.
1999: Hut 13 opened to cover military conflicts which British Commonwealth forces have been involved in since the end of the Second World War up to the present day.
2000: Hut 11 opened to include the events of the First World War.
2001: Eden Camp was voted runner up attraction to the London Eye by the readers of Group Travel Organiser magazine.
8 November 2002: Prince Philip visited the museum.
2002: Start of refurbishment of Hut 10, which now houses a comprehensive collection of P.O.W artefacts
2006: Medal Room set up.
2009: Completion of redevelopment of Hut 22, Forces Reunion, where hundreds of photos of personnel can be seen.
2021: Eden Camp announce redevelopment of Hut 5's Blitz Experience, by Technically Creative.
2022: Following closures during the pandemic, the museum invested approximately a quarter of a million pounds into refurbishing in the camp. New rooves, doors and windows were installed on the 80 year old building, the front of site was re-landscaped, and the museum launched its Green Policy with an aim to become Carbon Neutral by 2030. Multiple wild flower sites were sewn across the site, and a new toilet block with self sufficient solar panels was erected. In addition the Museum replaced the Diesel Generator with a new electricity cable reducing the annual carbon footprint by over 77%!
April 2022: The new BLITZ EXPERIENCE was launched, creating a interactive and fully immersive experience by using historic artefacts and modern technology. The new Heritage Hall was also launched to house the restored military vehicles on site. This Hall also doubles as a wedding and events space available to hire. It is complete with stage, bar and full AV equipment.
January 2023: Eden Camp has acquired its ceremony license to hold Wedding ceremonies as well as receptions from
January 2023. There are multiple huts available under the license and all packages are bespoke to each booking.
Malton is a market town, civil parish and electoral ward in North Yorkshire, England. Historically part of the North Riding of Yorkshire, the town has a population measured for both the civil parish and the electoral ward at the 2011 Census as 4,888.
The town is located to the north of the River Derwent which forms the historic boundary between the North and East Ridings of Yorkshire.
Until 2023 the town was part of the Ryedale district and was the location of the headquarters of the district council.
Facing Malton on the other side of the Derwent is Norton. The Karro Food Group (formerly known as Malton Bacon Factory), Malton bus station and Malton railway station are located in Norton-on-Derwent.
Malton is the local area's commercial and retail centre. In the town centre there are small traditional independent shops and high street names. The market place has recently become a meeting area with a number of coffee bars and cafés opening all day to complement the public houses.
Malton has been described as "the food capital of Yorkshire", and was voted one of the best places to live in Britain by The Sunday Times in both the 2017 and 2018 lists.
Malton was named the dog-friendliest town in the UK at the annual Dog Friendly Awards, in association with the Kennel Club in 2018/19. In 2020 Malton was named as one of the most dog-friendly staycation spots in the UK and the best in Yorkshire.
A seven foot long british oak canoe was found on the farm of Mr Hebden Flowers of South Holme in 1869. The relic was taken to Malton, being intended for the Yorkshire Philosophical Society's museum.
The earliest established building at Malton comes from the late first century AD when a Roman auxiliary fort was established, probably c. 71 AD under the governor Petilius Cerialis around the same time as Eboracum, although it has been suggested that both sites may be slightly earlier. The site was established on the north bank of the River Derwent. A large civilian settlement developed opposite the fort, on the south of the river at Norton. A single Roman cavalry unit, the Ala Gallorum Picentiana is recorded from the site.Derventio the romans left in 429AD when the empire collapsed
The site remained occupied (and subject to continued development) throughout the four centuries of Roman occupation in Britain, particularly in the Trajanic, Severan, Constantian and Theodosian periods and is notable for the manufacture of jet jewellery at the site as well as a single unique inscription identifying a goldsmith shop.
There was some form of settlement in New Malton by 1138 and Old Malton was probably also founded in the 1100s; a Gilbertine monastery was built between 1147 and 1154 in Old Malton, while the monastic church was probably built around 1180. The first reference to a market in New Malton was in a 1283 document, indicating that craftsmen and others, such as butchers, were selling their wares.
Earlier, in the 11th century, a wooden Norman castle, Malton Castle, was built in what is now Castle Garden. This was rebuilt in stone by Eustace de Vescy (1169-1216) by the time Richard the Lionheart visited the castle in 1189. Other visitors included Edward II, in 1307 and Robert the Bruce in 1322. The great house subsequently became ruined.
The castle site was inherited by Lord William Eure (c. 1483–1548) in 1544, when he was also made a baron.[note 1] In 1569 Ralph Eure built a new house on the castle site and in 1602, the house was rebuilt in much grander style. This was a spectacular property and it was described by the diarist and gunpowder plotter Sir Henry Slingsby as the rival of many other great houses, including that at Audley End.
The house was subsequently demolished in 1674 and the stones divided between two sisters, Mary (who married into the Palmes family) and Margaret Eure. (The site is now Castle Garden.) They had quarrelled over their inheritance and the demolition was the settlement ordered by Sheriff Henry Marwood. The Old Lodge Hotel is the remaining fragment of the original Jacobean "prodigy house" and its size hints at the grandeur of the complete structure.
According to contemporary archives, during the 18th century attention was paid to improving the facilities for traders in Malton, in particular for the numerous butchers.
Malton Town Hall was first used as a butter market, butter being the main marketable product for many farmers of the day. The town hall was extended and changed at various intervals over the years.
The town's Shambles, currently opposite Malton Town Hall, used to be located on the north side of St Michael's Church, which still stands in the centre of the Market Place. The Talbot Hotel, still standing and renovated, dates back to the early 17th century and may contain remnants of the medieval town wall. It was initially used as a hunting lodge and became an inn in 1740; it was also a coach stop. The property, with its associated buildings in Talbot Yard, is now Grade II listed. In the Victorian era, it was known as Kimberley's Hotel.
A sure sign of a town 'up and coming' was the advertisement of a 'light coach, setting out from Leeds to Scarborough returning to Malton to dine.'
In the last year of the 18th century, there was a famine in the area, and a soup kitchen was set up in a brew house in the town. The Earl Fitzwilliam of the time subscribed to a fund, which helped provide 'good strong soup' for the hungry poor.
In 1801 the population of Old and New Malton numbered 3,788. The workhouse contained 15 elderly people and 17 children.
In 1809 Malton's Talbot Hotel was extended and modernised with a third floor being added and new stables being constructed across the road from the hotel.
The town's Assembly Rooms were opened in 1814, a place in which 'polite society' could mingle. An 1833 Gazeteer stated that New Malton did a great deal of trade in coal, corn, butter, etc. There were two churches, four meeting houses for "dissenters", a free school and a national school. A bridge connected this town to Old Malton. Several schools or academies were operating by the 1820s, on a fee basis.
According to the 1840 edition of White’s Gazetteer, Malton's "town and suburbs have much improved during the last twenty years, by the erection of houses; and gas works were constructed in 1832." The streets of Malton were lit with gas for the first time on 12 November 1832; the first electric light was lit in 1893, powered by a dynamo, in a single location. By 1867, the Malton Waterworks was supplying residents with water.
By 1835, medical care was being provided at The Dispensary on Saville Street; this was a predecessor of the Malton Cottage Hospital which would not open until August 1905, funded by donations and a subscription. As late as 1841, dental care was provided by barbers; a Mr. Moseley was a prominent "surgeon-dentist".
Newspapers were well established in 1855, when the tax on newspapers was repealed. The Malton Messenger and The Malton & Norton Gazette were both weekly publications.
In 1856, the town was policed by the North Riding, with four men and a superintendent. Thomas Wilson was the Chief Police Officer. The Malton Town Gaol had been opened decades earlier. Work on new police house started in October 1893. By 1881, the Malton Fire Brigade, was operating with a steam engine.
In 1881, the population of Old and New Malton totalled 8,750 persons. Newer industries in New Malton included iron and brass foundries.
The development of the local railway network flourished during the mid-1800s – the York to Scarborough railway opened in 1845 and the Malton and Driffield Junction Railway opened in 1853. The Malton railway station is now Grade II listed (since 1986).
During the early 1900s, electricity was installed in much of the town. Before the Second World War, several buildings were erected, including the Court House, Cottage Hospital and Police Station. The town was bombed during the war.
The navigation capacity on the Derwent was one of the earliest in Britain to be significantly improved around 1725, enabling extensive barge traffic to transport goods and produce.
The navigation continued to compete with the railway, having been extended as far as Yedingham after 1810. The river's use as a highway declined only after it was bought by the Railway itself and cheaper coal began to arrive by rail, while river maintenance was deliberately neglected.
In Medieval times, Malton was briefly a parliamentary borough in the 13th century, and again from 1640 to 1885; the borough was sometimes referred to as 'New Malton'. It was represented by two Members of Parliament until 1868, among them the political philosopher Edmund Burke, and by one member from 1868 to 1885.
North Yorkshire Council is the local authority.
The current Member of Parliament for Thirsk and Malton (since 2015) is Kevin Hollinrake of the Conservative Party.
The Fitzwilliam family has been important in the history of Malton for centuries, and its descendants, as the Fitzwilliam Malton Estate, own much of the commercial area in and around the town. In 1713 The Hon Thomas Watson-Wentworth (father of the 1st Earl of Malton and Marquess of Rockingham) purchased the Manor of Malton, beginning a long association between the town and the Wentworth, Watson-Wentworth, Wentworth-Fitzwilliam, and Naylor-Leyland families. A book detailing the history since 1713 was published in 2013, written by Norman Maitland, entitled 300 years of continuity and change: families and business in Malton from the 18th century to the present.
Attractions in modern Malton include the signposted remains of the Roman fort at 'Orchard Fields', and Malton Priory a Gilbertine priory. Eden Camp, a military themed museum, is located just outside the town. Malton Museum is located at the Subscription Rooms in Yorkersgate. The town has an independent cinema (The Palace Cinema), which also houses a shopping mall, a theatre (The Milton Rooms) and independent retailers, high street shops, cafés, public houses and restaurants. Malton’s independent microbrewery, Brass Castle Brewery, hosts an annual spring 'BEERTOWN' festival at the town's Milton Rooms. Brass Castle brew their full range of vegan and gluten-free beers in the centre of Malton, including the 2015 UK Supreme Champion Cask Beer: ‘Burnout’. A second microbrewery company in the town is Malton Brewery, which is known for a Yorkshire Pudding Beer produced at Cropton Brewery. Malton Brewery itself is one of Britain’s smallest, located in a listed building at Navigation Wharf.
Both towns are known in connection with Charles Dickens, who made regular visits to the area to see his friend Charles Smithson. Dickens did not write A Christmas Carol while staying in Malton, but was inspired by some of the buildings in the town. There have been recent revivals of Dickens-related festivals. Malton and the neighbouring village of Old Malton provide the settings for the collection of stories told in the book, All is Bright - A Yorkshire Lad's Christmas by Dave Preston.
In September 2013 Ryedale District Council issued their Local Plan Strategy. The current Local Plan, produced in September 2013, supports Malton (together with Norton, its twin town on the south side of the river Derwent) as Ryedale District's Principal Town. The Local Plan sees Malton's historic town centre as the thriving and attractive cultural and economic heart of the area. During the Plan's period until 2027, Malton and Norton will be the focus for the majority of any new development and growth including new housing, employment and retail units. The Local Plan establishes a level of housebuilding of 200 units per annum for the whole district in order to deliver at least 3,000 (net) new homes over the period of 2012 to 2027. Approximately 50% of the planned supply – around 1,500 new homes - will be directed to Malton and Norton. A further plan for employment land is proposed for Malton. Of the 37 hectares of employment land required to meet the needs of the district until 2027, approximately 80% will be allocated towards Malton and Norton. For retail development the plan reflects Malton's role as the main retail centre serving Ryedale, and will direct most new retail and other town centre uses to Malton in order to support and promote its role as a shopping, employment, leisure and cultural centre for Ryedale.
Malton holds a market every Saturday, and a farmers' market once every month. The town has a war memorial and several historical churches (Norton-on-Derwent also holds large church buildings). The town is served by Malton railway station. The livestock market, currently situated on the edge of the town centre will be relocated to a site close to Eden Camp once construction work there is complete.
Malton is the middle-ground between York, Pickering (access to the North York Moors and also a terminus of the North Yorkshire Moors Railway), Scarborough, Filey and Whitby. The route of The White Rose Way, a long-distance walk from Leeds to Scarborough, North Yorkshire also passes through Malton.
Malton and Norton are significant for their horse racing connections and have a number of training stables in the vicinity. The Malton Stables Open Day, held in August 2013, showcased 19 trainer stables. Writer Norman Maitland describes the history of horse racing as "being in the blood in this part of Yorkshire for generations..." with meetings being advertised as early as 1692. The Malton Races were run on Langton Wolds, between 1692 and 1861.
Malton is also used to flooding, with notable floods in 1999, 2000, 2007, 2012, 2015, 2016, 2017, 2018 and 2021.
The 'We Love Malton' campaign was launched in March 2009. It aimed to reinvigorate the town of Malton as a 'Food Lovers' destination and raise its appeal with both residents and tourists. The 2015 festival included special guest chef Rosemary Shrager. The Festival for 2018 took place on 27 and 28 May. A harvest festival was also scheduled for 8 September. By 2017, the town was considered to be the food capital of Yorkshire. Malton is also well located for visiting the North York Moors and the seaside towns of Whitby, Scarborough and Bridlington.
Formed in 2011, Malton CIC benefits the area with donations to local organisations, including Ryedale Book Festival. The CIC also finances and provides two hours free parking in Malton's Market Place. It helps organise and fund Malton Food Lovers Festival and the Malton Monthly Food Markets.
Malton's churches include St Michael's Anglican church and Ss Leonard & Mary Catholic church. Preliminary work has commenced at the Methodist Wesley Centre which aims to repurpose the centre for use as a community hub alongside its purpose as a place of worship.
There are two secondary schools in Malton and Norton, Malton School, founded in 1547, and Norton College. Primary education is provided by St Mary's RC Primary School, Norton Community Primary School and Malton Community Primary School. The nearest independent school is Terrington Hall Prep School.
Local news and television programmes are provided by BBC Yorkshire and ITV Yorkshire. Television signals are received from either the Emley Moor or Oliver's Mount TV transmitters. BBC North East and Cumbria and ITV Tyne Tees is also received in the town from the Bilsdale TV transmitter.
Malton's local radio stations are BBC Radio York, Greatest Hits Radio Yorkshire, Capital Yorkshire and Coast & County Radio.
The local newspapers that cover the town are The York Press and Gazette & Herald.
As with the rest of the British Isles and Yorkshire, Malton possesses a maritime climate with cool summers and mild winters. The nearest Met Office weather station for which records are available is High Mowthorpe, about 6 miles (10 km) east of the town centre. Due to its lower elevation, the town centre is likely to be marginally warmer than High Mowthorpe throughout the year.
Malton railway station is a stop on the York-Scarborough line. TransPennine Express operates hourly trains in each direction between Scarborough and York; alternate services continue on to Leeds and Manchester Piccadilly. With a change at York, it is possible to reach London Kings Cross in around two and a half hours; a journey to Leeds takes around 50 minutes.
There are long-term aspirations to reopen the former railway between Malton and Pickering; this would provide services to Whitby over a distance of 32 miles (51 km).
Malton is bypassed by the A64, which runs between Leeds, York and Scarborough; there is a junction at the A169 to Pickering and Whitby.
Malton's main bus routes are run by Yorkshire Coastliner, a division of the Transdev Blazefield bus group; services link the town with Leeds, York, Whitby and Scarborough. Ryedale Community Transport operate regular services to Pickering, Castle Howard and Hovingham.
Notable people from Malton
Alan Brown – racing driver
Edmund Carter – cricketer
Adrian Dalby – cricketer
Brian Dutton – English professional football coach and former player
Simon Dyson – golfer
Terry Dyson – professional football player
Tim Easterby – racehorse trainer. Easterby's training stables Habton Grange are near Malton
Edgar Firth – cricketer
Scott Garnham – actor
Charles Hall – New Zealand politician
Francis Jackson – organist and composer
Richard Leonard MSP – Leader of the Scottish Labour Party (2017-2021)
James Martin – TV chef
Leo Sheffield – singer and actor
Jon Sleightholme – former England Rugby Union international
John Smith – author of Fruits and Farinacea and Principles and Practice of Vegetarian Cookery, an ovo-lacto vegetarian cookbook.
Ryan Swain – TV & Radio Presenter & DJ
Alfred Tinsley – cricketer
Read my post related to this EVENT and VIGILANCE in Blogger HERE
Taken at a Medical Mission last April 26, 2012, that gave out free circumcision to the boys in Sapangbato, Angeles, Pampanga.
It was very humid in the area, and had a headache midway through the mission. So I was one of the few people that left early.
In the morning before the mission actually began, I saw a father and son sitting, watching us get ready. I knew this would be a nice shot, so I went near them, but pretended to take a photo of the group getting ready so they can be at their natural, and thank to my fast prime lens, took the shot, never looked back. LOL
Shooting Information:
Nikon D5000
Sigma 30mm f/1.4
Aperture Priority
1/3000th @ f/2.8
ISO 800
Flash Not Fired
Post Processing Information:
Adobe Lightroom 3
Nik Software Silver Efex Pro 2
Not Cropped
-+o+-
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Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Christina Trevanion and Serhat Ahmet.
R.A.O.B. Royal Andalusian Order of Buffalos. The middle spins around read ‘Strict Order’ to quiet the brethren when the lodge is at work.
en.wikipedia.org/wiki/Royal_Antediluvian_Order_of_Buffaloes
Christina Trevanion & Serhat Ahmet | Day 2 Season 21 | Antiques Road Trip:
mer British Empire. Buffalo lodges have also existed in other countries not associated with the empire or the Commonwealth of Nations such as the United States of America. Lodges have existed onboard ships, at army bases, and at Royal Air Force bases. Bletchley Park had a lodge at its local pub. Most of the post-Second World War West German lodges were related to the British armed forces stationed in Germany. In the United Kingdom hundreds of pubs have been home to Buffalo Lodges.[2] The largest Buffalo order in history, based purely on the number of dispensations issued, is the Grand Lodge of England (GLE, also known as the Birmingham section). The GLE has issued over 10,672 "dispensations" to establish lodges in England, Wales, Scotland, Ireland, and other places around the world.[3][4][5]
There are still a number of lodges worldwide that come under the Grand Lodge of England directly, such as Eastern Lodge 8686 in Nova Scotia.[6]
Membership
There are two types of banners in the RAOB movement: the "affiliated" orders and independents.
Membership within the affiliated orders requires that a man must be 18 years of age or over and must be a "True and Loyal Supporter of the British Crown and Constitution".[7] There are Buffalo lodges which do not come under the affiliated orders and that have different requirements.[n 1] Lodges of the RAOB that have been set up in countries such as the United States have amended their rules to simply require that a prospective member be a "True and Loyal Supporter of the Constitution" of the country in which they operate.
The Buffalo lodge is a fun fraternity in which men of any religious or political views are allowed to join. Discussion of politics and religion are forbidden from meetings. The standard of dress is usually a shirt and tie, coat or jacket, and trousers. The Lodge is structured like an "Ancient City". The chief officer is called the Worthy Primo, and subordinate officers, as city officers. Officers wear chain collar regalia, whilst individual members have their own regalia or medals, known as jewels. Meetings are begun when members are standing and the Worthy Primo constitutes the lodge. This process varies depending on the Buffalo order. Once this formal part of lodge is complete, the lodge moves into "harmony". During harmony, mock charges are held, or brothers are asked to render items of harmony, which usually includes jokes or songs, sometimes accompanied by instruments if allowed in the respective Buffalo banner.[9]
Most lodges meet together for fellowship and mutual social enjoyment. The desire to cultivate the spirit of brotherhood, to pool funds, for the purposes of helping others. To keep alive the old traditions, ceremonies and usages of the movement.
The Buffalo order for the most part has never been a registered friendly society. Unlike a friendly society, the Buffalos do not provide a system of benefits funded by contributions. The order in its various forms is a collective funded by the charitable giving of its members. Benevolent funds are being supported by and large by the voluntary giving of its members. The only fixed charges being the "Registration Fee", and "Initiation Fee". In most orders these are split between the lodge and the Grand Lodge,[10] in others this is retained entirely by the minor lodge.
For much of its history Buffalo Lodges functioned as a means of raising funds to help sick and indigent members, their families, and dependents of former members. Charity has always been at the heart of the Buffaloes and as the movement grew so did the benevolent aspirations culminating in the establishment of orphanages and convalescent homes.[11] The Buffs are regarded as charitable organisations.
In the lodges there is a small amount of ritual and ceremony.[12] Officers wear ornate chain collars and their respective jewels. The use of aprons is not widespread at regular meetings of Buffalo lodges. New members are "initiated". After two years and having gained their intermediate certificate, the new member is then "raised" to the degree of a Certified Primo. The Knight Order of Merit and Roll of Honour degrees are granted to those who have been members of ten years or more after the raising to the second degree.[13]
Structure
The Buffalo order has three tiers:
Minor (Private) Lodges;
Provincial Grand Lodges (under a local governing body) and
Grand Lodge.
Each Province may also have a Knights Chapter and Roll of Honour (RoH) Assembly. In the Grand Council Order, there is no Roll of Honour Assembly whilst in other Buffalo Orders, the Roll of Honour Assembly is called an RoH Chapel.
Degrees
Members of the Buffalo order can attain up to four levels "learning." The levels are the grades within the Buffalo movement and are called "Degrees". To attain the final level takes 10 years. In the early days, there were two degrees. The Kangaroo or First Degree, and the Primo or Second Degree.
In 1872, a higher order within the Buffaloes was formed called "The Knights of the Golden Horn", with its Headquarters in Hull and local units called Encampments set up around Great Britain. The KGH was established as a higher body to carry out and conduct ceremonies. In 1888 a number of Encampments of the Knights of the Golden Horn, split off, and became independent. Full separation did not occur from RAOB until 1926. Today the Grand United Order Knights of the Golden Horn remain in existence.
The Grand Australasian Banner has a fifth degree the Roll of Honour Chain Collar.
Another higher order was created within the Buffaloes called the Guild Companions of the Ark. It opened in 1887 by five Primos of the Order, and only had one lodge, Armenia. The Companions of the Ark disappeared before the Great Depression.
Brother (1st degree) (Kangaroo)
Certified Primo (2nd degree)
Knight of the Order of Merit (Knight Sir) (3rd degree)
Roll Of Honour (Right Honourable Sir) (4th degree)
Roll of Honour Chain Collar (5th Degree of the Grand Australasian Banner)
Minor Lodges
The Minor Lodges are structured along the lines of an "ancient" City. The Lodge room is properly known as "the city". There are 13 officers in a Lodge in total though in the Grand Executive Banner, there are two additional Officers, The City Physician and City Barber:
Worthy Primo (Sitting Primo in GEB and Grand Council) Chief Presiding Officer.
City Marshall (Deputy Presiding Officer equivalent to what the Odd Fellows call the Vice Grand)
City Secretary
City Treasurer
City Chamberlain (City Warden in the Grand Council)
City Tyler
City Constable
City Registrar
City Minstrel
City Waiter
City Taster (in Grand Council Lodges)
Alderman of Benevolence (Almoner of Benevolence in Grand Council Lodges)
City Auditors
Lodge Trustees x 3
The Order is structured on the lines of the classic fraternal structure, of Local Minor Lodges, Provincial Governing Authorities and a Grand Body, often styled as the Grand Lodge. All Members are known by the appellation of "Brother" with degree honorifics used in lodges.
Knights Chapters and RoH assemblies exist for members of those degrees and are operated alongside the Provincial Grand Lodges but have no function other than as ceremonial bodies. Chapters are responsible for the 3rd degree ceremony. RoH assemblies the 4th degree ceremony.
The Buffaloes were once a very large worldwide fraternal movement made up of a number of "orders" and over 15,000 lodges having been established around the globe at one point or another. The largest Buffalo order is the Grand Lodge of England (originally the Birmingham section) with over 10,672 Lodges having been issued dispensations since 1897 or before then.
Banners
By the 1850s there existed dozens of Lodges across Britain, with Mother Lodges or District Lodges, acting as the head of the movement in their respective area. Each of these Lodges or Mother Lodges worked their own ritual and had their own rules. In order to create uniformity in rules, rituals and operation, The first national Governing Body, the Grand Primo Lodge of England, was organised in 1866 as a result of a meeting of delegates from various Lodges. In the years following, various schisms emanated from the Grand Primo Lodge, owing to disagreements and infighting. The first of these was the Grand Surrey Lodge. In 1874 the Grand Primo Lodge had 112 Lodges under it. In 1897 the mother of all divisions occurred and Lodges either went with the Metropolitan movement or the Provincial (or Birmingham) Movement. The two movements would rename themselves as the Grand Lodge of England Limited (Metropolitan) and the Grand Lodge of England (Birmingham).[14]
The Grand Lodge of England Limited is simply known as "the limited section", while the Grand Lodge of England Inc is known as the GLE. The GLE is the largest of the Buffalo orders. There have been a number of Buffalo orders, thus leading to a general opinion that there have been close to 20,000 Buffalo lodges formed since the movement began in 1822, all the result of schism after schism: the Grand Surrey Lodge, The Grand Surrey Banner (Mother Lodge) and Grand Surrey Banner (Mother Banner), Grand Middlesex Banner and Grand Executive Banner being examples of these. In their day these various orders were competing against each other with lodges of each order often meeting in the same town and it was not unusual to find in a reasonable sized town four or more Buffalo lodges of four different orders.[3] Over time the established orders have settled their differences and now largely co-operate.
All of the different RAOB orders are very similar, save for minor differences and peculiarities. Each has Minor Lodges, which are the basic unit of the whole movement. Overseeing Minor Lodges are what is known as "Governing Authorities" and, over those, a "Grand Lodge" (or Council), made up of Grand Primo, Officers as well as delegates representing Governing Authority areas. Each Buffalo Order has a Rule Book, Manual of Instruction and Ceremony Lectures issued by the parent body. There are generally 4 Degrees of membership. Kangaroo (1st degree) Primo (2nd degree) Knight of Merit (3rd Degree) and the Roll of Honour (4th Degree).
The Grand Lodge of England was one half of two banners born from the separation of the Grand Primo Lodge, in 1897.[11][15]
In the various banners, each Grand Lodge or Grand Council holds annual meetings known as "conferences" to which delegates from all the provinces attend, and at which remits are passed, and other matters dealt with.
Use of "Royal"
The Seditious Meetings Act 1817 affected the gatherings of clubs throughout Britain. To counteract this and show the Buffaloes were not subversive to the interests of the state, the Order described itself as the "Loyal Order of Buffaloes". The addition of "antediluvian" (meaning before the time of the flood in the Bible and referring to the Order's principles)[16] occurred in the 1850s. Hence the honorifics of "royal" and "antediluvian" are simply a decoration. The movement under the Home Orders has always professed a Loyalty to the Crown and the Order was widespread amongst the British Armed Forces during the 20th century. Reference to before the flood is questionable. The usage of such an appellation being to impress upon the minds of members and the public that the movement has great antiquity. This would make sense given the preposterous list of ancient members used in the old Initiation Ceremonies.[17]
The use of the word "Royal" in any organisational or business title in the United Kingdom requires a royal warrant from a reigning monarch. Under legislation in Section 4 (1) of the Trade Marks Act 1994, the Lord Chamberlain's Office has the right to take legal action if permission for the term "royal" is not granted. As the Buffaloes have been using the prefix "royal" since the 1840s, the Lord Chamberlain's Office permits its continued use on the grounds of long usage.
Dispensations
The Dispensation is the name given within the RAOB to the lodge warrant or charter. The name Dispensation appears to originate from the City of Lushington, which had a certificate on the wall of its meeting room, called the Dispensation.
The dispensations of lodges are issued by the Governing Body of each Order to the Minor Lodges formed under them. Such dispensation empowers the Lodges to exist and operate as part of the Order, and to initiate gentlemen into that Order.
Motto
The Latin motto of Buffalo orders is "No Man Is At All Times Wise" (Latin: Nemo Mortalium Omnibus Horis Sapit) and it has the maxim of "Justice, Truth and Philanthropy". The Grand Lodge of England also has its own motto, used by itself and its affiliated branches on the official seal, which is "In things Essential Unity, In things Doubtful Liberty and in all things Charity."
Lodge names and associations
Over the years there have been Lodges formed that were associated with various industries and professions, or named in honour of people, such as respected lodge members or prominent people in the community.[2]
Having been started by actors and stagehands, other lodges were formed by members of the theatre profession. There have been many actors and entertainers' lodges, including up until the late 20th century in London.[18] In Newcastle Upon Tyne in 1884, the Joey Grimaldi 150 was opened under Dispensation issued by the Grand Primo Lodge of England and is an example of a Lodge that at its formation, was connected with the theatrical trade.[19] Over the years this seems to have significantly changed and by the time of its closure in 2018, there were no entertainers or theatre members.
There was also a Lodge that met at or in the vicinity of the Shaftsbury Theatre. Often the Lodges formed by those connected to the theatre and entertainment business had names that either demonstrated clearly their association such as simply "The Theatre Lodge", or that were named in honour of a famous theatrical personage such as "Garrick Lodge" or "Sheridan Lodge".[2]
Over the years there have been some well-known men associated with the movement, encompassing all professions and trades including the legal profession. There was a Royal Courts of Justice Lodge GLE Ltd being an example of a Lodge connected to the Legal profession it met at the Inns of Court [20]
There was a Dreadnought Lodge GLE Limited, clearly a Naval Lodge. There have been Lodges connected with the Home Guard, simply using the name "Home Guard". Lodges connected with Railways often called "Railway Lodge" or something else railway related such as "Locomotive Lodge". Coal miners lodges such as Mt Rochfort Lodge No 29 GLNZ (4656 GLE). Naval and Passenger liner lodges usually have a ship's name, that is not the case with the Oriana-based lodge whose name was "Princess Alexandra" and was numbered "10051" on the Roll of the Grand Lodge of England. The now-closed Leyland Lodge was originally formed by the management of the Leyland Motor Company in the 1920s. Kings Own Military Lodge had a close connection with the British forces.
Some lodges were named simply in honour of famous personages of the day, such as General Redvers Buller or Edith Cavell. Other Lodges have been named in honour of well-respected past members such as the Mervyn Payne Lodge.
Absent Brothers Toast
The AB Toast used by the Grand Lodge of England was penned by Bro. J Ord-Hume to the Tune of Sandon Lead Kindly Light.
Spirit of truth, before we homeward wend
On thee we call
Assist us each to succor and defend
Good brethren all
From Cares and Sorrows, Absent Brethren Free
Where'er they roam, in air, on land or sea
Let thy kind spirit hover round them now
And so enthrall
That they will keep, their obligation vow
So say we all
And when on us, the ivy leaves descend
Grant we may join, thy link, our brothers friend.
Grand Council Absent Brothers Toast
First Verse of Eternal Father Strong to Save followed by fifteen seconds silence and the ode:
Let us Toast our Absent Brothers
Wheresoever they may be
Trusting soon to have them with us
Joining in our Jovial Harmony
Brothers Kept away by sickness
soon we trust their health regain
Whilst we wish good luck and safety to our Brothers on the main
Our Brothers know they are not forgotten
If on land, Air or sea
So stand your glass and drink right hearty
To our Grand RAOB
ABSENT BROTHERS
SPEEDY RETURN
History
Early history
In so far as the recorded history goes, a club was formed in the Harp Tavern, Drury Lane London, by actors and entertainers in the mid 18th century, and may have included the owners of the theatre itself. The club was called the "City of Lushington" and was styled along the lines of a mock "City Council", possibly in parody of the "City of London". Named the "City of Lushington" (possibly after the drink "lush") The club had a "Lord Mayor" and "Four Aldermen". The Lord Mayor was a pompous figure in a wig and robe. The Aldermen were in charge of the four wards of the city, the aptly named "Poverty", "Juniper", "Suicide", and "lunatic" wards. In these Wards the members sat. This club was immensely popular, leading to restriction on membership as the room could not accommodate all the prospective citizens of the city. This left quite a few of the lesser lights of the acting and theatre business, including stagehands, out in the cold. In 1822 a Buffalo Society was formed in the same meeting room as the City of Lushington, and with references to the City of Lushington, such as the title and style of the Lodge Officers and the naming of the Lodge Room as "the City" practices which continue to this day. The Buffalo Society was formed by the artist Joseph Lisle and comedian William Sinnett, along with stagehands and theatre technicians, in August 1822. It drew its then name of The Buffaloes from a popular song of the time: We'll chase the Buffalo. The Buffalo Society is mentioned in Peirce Egan's "an end to life in London".[21]
The Harponian Lodge is regarded as the first Buffalo Lodge, formed in 1822 by actors and stagehands denied membership in the City of Lushington. The date of closure of that first Buffalo Lodge is unknown.
From the outset the Buffalo Society existed for social convivial enjoyment and for benevolent purposes. By way of small fines, donations and fees, money would be raised to assist an indigant member who was in need.
The Buffalo Lodges were spread across London and further abroad by the members of the theatrical profession who were Buffs who travelled around for work. Wherever they went new Lodges were formed. When a lodge opened in a new area, it became a Mother Lodge, from which subsequent Minor Lodges would be opened. The Mother Lodge would support and advise new lodges on rules and administration of membership. These Mother Lodges developed into the body responsible for administration and organisation, and as the Order grew District Grand Lodges and later Provincial Grand Lodges were opened.
One of the "big" centres of the movement in its early days was the St Georges Tavern, home of the Grand Surrey Lodge, a popular haunt of those in the Theatre business. Several Lodges owed their allegiance to the Surrey Lodge, who was Mother to a number of Lodges. Later on, the first schism from the Grand Primo Lodge would be by those connected to the Surrey Lodge.
Well known proprietors of the Theatre Royal in Drury Lane in the 18th and 19th centuries respectively were David Garrick and later, Brinsley Sheridan. During Garrick's time managing the Theatre, it was rebuilt twice, whilst during Sheridans tenure, the Theatre burnt down and was rebuilt. It is one of the oldest Theatres still operating in Great Britain today. Some of the names of early GLE Lodges being "Garrick" and "Brinsley Sheridan", two of the proprietors of the Theatre Royal. Another of those early GLE lodges of interest is The Clown Lodge No 32, most likely founded by Clowns whilst the Shakespeare Lodge and Joey Grimaldi Lodge No 150 were both formed in Newcastle upon Tyne by actors and entertainers.[22]
Early lodges
Grand Primo Lodge England [14]
Adelphi
Apollo
Beehive
Blomsbury
Brittania
Cardowgan
Carlton
Caxton
Cock Robin
Emanuel
Frankling
Hoxton
Lambeth
Marlborough
The Grand Surrey
Flowers of Forest Lodge
First Ten Grand Primos, Grand Primo Lodge England
The first ten Grand Primos were:[23]
1866 Bro G.T.Wright
1867 Bro E Scates
1869 Bro.E Mitchell
1870 Bro.W James
1872 Bro.J Worth
1873 Bro.H Albert
1874 Bro.R Willis
1875 Bro.F.C Hunt
1876 Bro. C Woodward
1877 Bro. E Geake
1878 Bro. J Lewis
1879 Bro. J C Smith
1880 Bro. J Alexander
1881 Bro. G Eshelby
1882 Bro. C Ranson
1883 Bro. H Stroud
1884 Bro. H Barret
1885 Bro. W G Rennel
1886 Bro. W Hedderwick
GLE No 1
A Lodge in Liverpool, Albion Lodge No 1, is currently at the top of the roll of the Grand Lodge of England (Birmingham Section). Its number is deceiving as the lodge was not the first to be formed under the Grand Primo Lodge. Albion has held that distinction for some time of being No 1 on the GLE (Birmingham Section Roll). In the 1920s the GLE (Birmingham Section) undertook a renumbering of lodges, with lodges moving up one to fill in spaces left by closed lodges. It was at that time that Albion became No 1.[2]
The Elks
Charles Vivian, an actor and member of the Buffaloes was a key founding father of the Benevolent and Protective Order of Elks in the United States.
Overseas lodges
The Buffaloes went wherever the members went. The RAOB reached Australia by the 1870s. In New Zealand, the early Lodges were concentrated in the Canterbury region and were established in the 1880s.
By the end of the 19th century, various orders of Buffaloes had spread from England to Australia, New Zealand, South Africa, Canada, Northern Ireland, Scotland, the Middle East, India, Africa, Gibraltar and Cyprus.
20th century
First World War RAOB GLE Ambulance c. 1916
In 1901 the first Lodge in Scotland, Clan Ord, was opened, by Bro's Johnson and Ord Hume. On the 23rd of May 1902, the Royal Edinburgh Lodg No 854 was opened. on the Roll of the Grand Lodge of England (Birmingham section). This was the second Scottish Lodge. The Third lodge to be opened up in Scotland was St Kentgern 858 in Glasgow. On February 25, 1903. Bro. J Ord Hume officially opened the Maritime Lodge No 897 GLE in Australia on behalf of the Grand Lodge of England.[14]
The movement achieved a significant goal with the opening of one of its first orphanages, Aldridge, in 1904. This was funded by a Hapenny registration fee in every Lodge under the Grand Lodge of England. There were that many members and lodges meeting back then that the scheme paid for itself.[14]
By 1915 the Grand Lodge of England were already into the 1000 series of numbers. By the end of 1919 the Grand Lodge of England reached over the 3000 series. In the 1920s Lodge numbers in the GLE Order were in the 4000-5000 series.
Royal Antediluvian Order of Buffaloes Civil and Military Lodge, Whittington, Staffordshire, c. 1920
The First World War led to temporary or even permanent closure of many Lodges due to the enlistment of members. The Buffs supported the war effort through supplying motor ambulances to bring wounded soldiers back from the front lines. Initially six motorised ambulances were purchased and sent with each one operated by volunteer Buffs. More followed, with the figure quoted being between 18 and 22.[23]
Three Buffalo Lodges were formed in the back of Motor Ambulances. On their return after the war, the ambulances formed the first ambulance service in England.[24]
In 1919 Ye Petitor Lodge No 2674 was opened which would become No 1 on the roll of Grand Lodge of New Zealand. Also in 1919, a Lodge was opened in Iraq at the Royal Air Force base. Lodges continued to be extended around the globe as well as in China, India and Germany.
The first RAOB Lodge in Germany was opened in 1920 and connected with the British Armed Forces. By 1926 a Provincial Grand Lodge of the Rheinland was opened. By that stage several Minor Lodges were in operation.
In the 1920s several Royal Naval ships had Lodges attached to them.
In 1926, Lord Alverstone succeeded in persuading the Order to purchase Grove House, Harrogate, for use as an orphanage to which every active member contributed a ha'penny (half of one old penny).[25] When the orphanage was no longer a requirement after the state took over responsibility for orphans, the Order began a new charity fund which is still in place today.
Ingham, Queensland, 1935
In the late 1920's a Lodge was opened in Baluchistan, India (closed 1949).[26]
On 5 October 1930 the Airship the R101 Crashed in France and the resulting fire, killed most of those on board which included at least 24 members of the RAOB Bedford Province including Lord Thomson the Air Minister.[27]
In the 1930s a very remote Buffalo Lodge was formed, the "Up the Khyber" Lodge in India, up near the border with Afghanistan, at the furthestmost British outpost.[28]
In the 1930s the Grand Lodge of South Africa were supplied a number of dispensations in the 6000 series. This explains an anomaly why some South African Lodges continued to be opened under the 6000 series, long after that series had been surpassed by the GLE.
Grand Council Buffalo order
The Grand Council RAOB was formed in 1924 as a result of a conference of various independent Buffalo orders in Great Britain, led by the Grand Surrey Banner. The outcome was the formation of the Grand Council which then issued new dispensations to all Lodges. In New Zealand for instance, the Grand Surrey Banner Lodge No 3010 become New Zealand No 1. It lost its original English-issued number.
Second World War
Lodges continued to operate through the war years throughout the British Empire, where and when they could meet. During the Second World War, the order offered Grove House for use as a military hospital.
Two lodges stand out during the war years. They were the Changi Prisoner of War Lodge, formed without dispensation, in Changi POW Camp.[29] The other was the Hohenfels Lodge in Stalag 383.[30]
Post Second World War
The post-war period was a boom time for the order, particularly in the British forces. There was a lodge opened in Japan as part of Japan occupation forces following the end of the war. There were Lodges opened in Royal Air Force bases all over West Germany. There was a Buffalo Lodge set up on Christmas Island. There was a Lodge opened in Korea during the Korean War as well and Lodges opened in Malaya, and Borneo and Singapore. Buffalo Lodges were opened in Royal Air Force bases in Great Britain while new Lodges were also opened in communities such as Jinja, in Uganda.
In 1949, an international convention in Glasgow reported over 1000 attendees from around 4000 lodges and was to celebrate 130 years of the Order. Sir Andrew Murray, the Lord Provost, addressed the conference.[31]
The order continued to expand well into the 1960s. One such lodge that was formed in the 1950s under the Grand Lodge of England direct being the Eastern Lodge No 8686, Eastern Passage, Nova Scotia, Canada. New lodges continued to be formed including at Sharjah Air Force Base and Lodges at other bases, still under the RAF.
It was not just the Grand Lodge of England that experienced massive growth in the post war years.
There were over two thousand lodges under the GLE formed in the years following the Second World War. Between 1945 and 1985 new dispensations issued went from the mid 7000 series to the mid 10,000 series.
The RAOB expanded in West Germany following the Second World War with up to six provincial grand lodges being formed to manage the dozens of lodges established. Most of those lodges were connected directly with the Royal Air Force.
Asia
The early Lodges in Asia had been set up associated with the Maritime sector, British Army and industries. Hong Kong was where you would expect to find such lodges. The first Lodge in Hong Kong was in the 3000 series numbers under the GLE (Birmingham) and so would have been formed in or around 1919–1920. Singapore was the next place, and several Lodges were formed there before the Japanese invasion of the Second World War. A "Lodge" was opened in Changi POW Camp of which a history has been compiled by Bro Mick Walker RoH of the Grand Lodge of England.
Following the end of the Second World War, there was a Lodge formed by members of the Japan Occupation Forces. A Lodge was opened in Korea during the time of the Korean War, and was associated with the Cameron Highlanders. New Lodges were formed also in Singapore, one of which was the "Enterprise" Lodge GLE. Another Lodge was associated with a Royal Air Force Base.[32]
From the mid-1950s Lodges spread across South East Asia due greatly to the influx of British servicemen as a result of increasing tensions in the region that culminated in the Malayan Emergency. By 1965 There were Lodges in Borneo, Singapore, Malaysia. Virtually all of these Lodges were "military" lodges and met at the various British Army Bases and Camps. One such lodge was Straits Commonwealth Lodge.[32]
The Buffs continued to exist in South East Asia after the conflict. The Rumah Pantai Lodge GLE on Borneo was formed in 1980 by the merger of two old Military Lodges. Rumah Pantai soldiered on until 2015 by which time it was the last RAOB Lodge in Asia.[33]
List of places where RAOB lodges existed
RAOB Lodges once existed in the following:[34]
Korea
Japan
Baluchistan between Afghanistan, Iran and India (now Pakistan)
India
Iraq
Libya
Egypt
Aden
Oman
Israel
Benghazi
Jinja
Kenya
Accra Ghana
Sierra Leone
Tobruk
Ceylon
Nigeria
Tripoli
Gan
India
Malaya
Hong Kong
Singapore
Borneo
Papua New Guinea
Most of those Lodges, if not all, were associated with the British Armed Forces.[35]
Today
The post Second World War years were undeniably a golden age for the Buffaloes. Worldwide membership increased and the number of Lodges expanded to reach their zenith in the 1960s-early 1970s. It was at this time to, in the post war period leading up to 1970, that the largest number of RAOB lodges in the Armed Forces came about.[36]
As with many organisations dating from the pre-Victorian period, there has been a noticeable decline in membership since a boom in the 1970s. With the reduction in the size and scale of the British Armed Forces, and social changes as mentioned, the Buffaloes movement has shrunk in size, and a significant number of Lodges around the world have closed.[37]
By 2012 Scotland's oldest lodge, the Royal Edinburgh Lodge No. 854, was down to 25 members.[38]
The Grand Lodge of England remains the largest Buffalo Order, it now only has 700 or less active Lodges. Some of the most historic Lodges remain open such as Albion No 1 in Liverpool. There are Grand Lodges within the GLE system in operation in New Zealand, Australia, Canada, Cyprus, and Northern Ireland.
The Grand Lodge of England sold its two convalescent homes in 2014.[39]
South Africa
The earliest known Lodges were United No 1 and Anchor 631, both of the Grand Surrey Banner, set up in the 1880s.
In 1921, Several Lodges operating under the Grand Surrey Banner, Grand Surrey Lodge and Grand Lodge of England Limited seceded to the Grand Lodge of England (Birmingham section) taking up the numbers 4004–4016 on the Roll of the said Grand Lodge of England. In the same year, the Grand Lodge of England granted a Warrant for the formation of a Grand Lodge of South Africa and Rhodesia. This was inaugurated on the 21st of August 1921. The First Grand Primo being Bro. Lawrence Pascoe KoM
One of the more notable members of the Order in South Africa was Bro.John Christie P.B. who was Leader of the South African Labour Party from 1946 to 1953.
Australia
History
The earliest Buffalo Lodges were formed in Australia, in Sydney, the 1860s–1870s. A couple of articles appeared in various Buffalo Magazines in Australasia dealing of those early days.
Lodges spread all over Australia under a number of different Buffalo Orders: the Grand Surrey Lodge, the Grand Surrey Banner, the Grand Lodge of England. There was also a Grand Marine Banner.
In 1902, Bro. J Ord-Hume was appointed as a Grand Lodge of England Travelling Commissioner, with the power to open Lodges in his travels abroad to Australia. Maritime Lodge was recorded as the first GLE Lodge in Australia.[40]
In 1914 the Grand Marine Banner merged with another Buffalo order to form the Grand Australasian Banner. This Order is unique in that it has a fifth degree, the Roll of Honour Chain Collar.
In the 1920s the first State Grand Lodges under the Grand Lodge of England were opened.
Around the time of the Second World War, Lodges were extended under the GLE and GAB to Papua and New Guinea (later Territory of Papua and New Guinea and independent Papua New Guinea).
In the 1950s a lodge was opened on the Peel Island leper colony.[41]
In the early 1980s an attempt was made to form a GAB lodge in New Zealand. This was opposed by the Grand Council in New Zealand.[42]
Present
Today the GLE has the Grand Lodge of Queensland, Grand Lodge of Victoria, Grand Lodge of New South Wales East, Grand Lodge New South Wales West, Grand Lodge of South Australia & Grand Lodge of Tasmania still exist, as does the Grand Australasian Banner in the following states - Victoria, Queensland, New South Wales & Tasmania.
New Zealand
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There have been around 400 Buffalo Lodges established in New Zealand in the period from the 1880s to 2000. As of May 2022, there remain at least 78 minor lodges in operation, spread across four orders.[43] The Grand Lodge of New Zealand of the GLE with at least 60 minor lodges, the Grand Council with 14 minor lodges, and Progressive Lodge of New Zealand with five.[43] Of these, the Grand Council and Progressive Lodge have no Lodges outside of the North Island.
Grand Surrey Lodges in Canterbury
The earliest surviving references to Buffalo Lodges operating in New Zealand are to be found in a now rare out of print book. The History of Lyttleton Lodge No 8, by Bro. James Tihema RoH. Tihema delves into the subject of the early Lodges in Canterbury, of the Lodges established under the Grand Surrey Lodge in the 1880s. There was a Grand Lodge of New Zealand formed, under the Grand Surrey Lodge. There were at least 6 Minor Lodges formed in the Canterbury Region including the masonic sounding "Royal Arch of Friendship Lodge" opened in Ashburton, and the "Royal Lyttleton Lodge No 756".[44]
According to old New Zealand Buffalo Review reports from Lyttleton Lodge No 8, the present day Lyttleton Lodge No 8 was formed in the early 1920s from the merger of the old Grand Surrey Lodge in Canterbury with the new emerging Grand Lodge of England movement. Lyttleton Lodge is often referred to in the old RAOB GLNZ Journals as Lyttleton 6461 just as Ye Petitor would often report under the Name and Number Ye Petitor 2674 [45]
Grand Surrey Banner in Wellington
In Petone Wellington in 1916, Bro Earnest Lacy RoH led the formation of the first Lodge in Wellington, established under the Grand Surrey Banner. It was called Tuatahi Lodge no 2041 GSB, Tuatahi being Maori for "One" or "First". From this Lodge was begun a short lived Grand New Zealand Banner.[46][42][47]
Grand Lodge of New Zealand GLE
At the end of the First World War soldiers in the Torquay Demobilization Camp formed the Ye Petitor Lodge No 2674. A GLE dispensation was granted to the lodge in 1919. The lodge was then transported to Christchurch, New Zealand. In 1922, at the formation of the Grand Lodge of New Zealand, Ye Petitor 2674 became No 1 on the Roll of the Grand Lodge of New Zealand of GLE. It was not the only GLE lodge to be formed in New Zealand prior to 1922. Other Lodges included Auckland City Lodge in Auckland.[48]
Attempts to establish a Grand Lodge of New Zealand of GLE are known to have begun in 1920. The first recorded meetings of the Grand Lodge of New Zealand of GLE were in Christchurch in February 1922. On Sunday 19 March 1922 the First Grand Lodge was elected with Bro. W.G Brooks RoH being the first Grand Primo of the Grand Lodge of New Zealand of GLE Edwin Clark in his history of the Grand Lodge of New Zealand states, based on original minutes, that a motion was passed for the Grand Lodge Dispensation to be framed.[48]
According to the original minutes as mentioned by Edwin Clark in his history of the first 25 years of Grand Lodge, the meetings of the new Grand Lodge were to be held at 8pm, on the last Thursday of each month.
Lodges formed under The Grand Lodge of New Zealand of GLE would continue to have an English GLE Number issued to them until at least as late as 1930.
Grand Lodge of England Granted the Grand Lodge of New Zealand its independence around 1931. It is still in fraternal accord with the GLE and is part of the GLE banner, but is independent of the Grand Lodge of England.
Grand Primos of the Grand Lodge of New Zealand GLE
Bro. W.G. Brooks RoH 1922[48]
Bro. A.B.Simpson KOM 1923
Bro. W Pennington KOM 1924
Bro. C W Jones KOM 1925
Bro. A J Smith 1925–1926
Bro. A.D.Pickard 1926–1927
Bro G.A.Denning RoH 1927/1928
Bro. W.Drain K.O.M 1928/1929
Bro.W.W.M.Watt R.O.H 1929/1930
Bro.W.J.W.Neate RoH 1930/1931
The Thirty-Third Session of WIPO’s Standing Committee on Copyright and Related Rights (SCCR) took place in Geneva, Switzerland from November 14 to November 18, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Related to the previous photo of Perry's Victory Monument and the Peace Memorial, three flags
fly together: the flag of the United States (at the time of the Rush-Bagot Treaty of 1817), Great Britain and the flag of Canada (dating from 1965; Canada did not exist as it does now in the early 1800's).
The Rush-Bagot Treaty demilitarized the Great Lakes, allowing one military vessel on Lake Ontario and Lake Champlain, and two on the other Great Lakes to be used for policing purposes.
Richard Rush was the Acting United States Secretary of State, and Sir Charles Bagot was the British Minister to Washington when, in 1817, they began exchanging correspondence that led to this treaty, which was unofficially recognized in 1817 and then adopted by both countries in 1818. It set the basis for what is now the longest unfortified border in the world, stretching across the continent from the Atlantic to the Pacific Oceans.
This picture is related to my other image "Lost". Its the way (or wish) to get out of the big mess that collects in my head sometimes. It visiualize the great feeling of freedom that you get when your able to let go of all your dark thoughts and shadows and feel so light as if you just could fly out of a big maze that kept you for so long.