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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.
technique mixte : acrylique, vinylique
sérigraphie, marker, pochoir et bombe
toile de coton sur châssis 20 x 20 x 4 cm
COLLECTION PRIVÉE - PRIVATE COLLECTION
mixed media : acrylic/vinyl painting
screenprinting, marker, stencil & spray
cotton canvas on stretcher 7.87 x 7.87 x 1.57 inches
2025 Asian Americans United 30th Annual Mid-Autumn Festival I 2025 AAU亚裔联合会第三十届中秋节联欢会
30th mid-autumn festival program
主舞台 Main Stage
10th and Arch Street
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司仪 Emcees:
张杰奕 Jenny Zhang、Zhenhuan Ruan、Xiaohui Tan
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张树培洪家功夫学院
Cheung Shu Pui’s Hung Gar Kung Fu Academy
舞狮将以充满活力和吉祥祝福的方式来为联欢会开幕。
The Lion Dance will kick off the festival with vibrant energy and blessings of good fortune.
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魏忠美，亚裔联合会创始人
Debbie Wei, AAU Co-Founder
欢迎致辞及颁奖
Welcome speech and awards
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获奖者
Award Recipients
埃里克·乔斯林老师，民艺特许学校
Teacher Eric Joselyn, Folk Arts Cultural TreasuresSchool
颁奖人： 待定
Presenter TBD
聚福金阁
Ocean Harbor
颁奖人：陈威，林世鸿
Presenters: Wei Chen and Shihong Lin
清水凯茜，亚裔联合会中秋联欢会
Kathy Shimizu, Asian Americans United Mid-Autumn Festival
颁奖人：尼塔·帕特尔
Presenter: Neeta Patel
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张树培洪家功夫学院
Cheung Shu Pui’s Hung Gar Kung Fu Academy
洪家学生们将式范融合力量、精准度和五禽戏精神的传统功夫技巧。
Hung Gar students will showcase traditional Kung Fu techniques that combine power, precision, and the spirit of the five animals.
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京太鼓
KyoDaiko
表演者 Performers: 诺拉·吉尔伯特, Norah Gilbert, 克里斯蒂娜·金·史密斯, Christina King Smith, 约翰·科利奥斯, John Kolios, 伊丽莎·麦克尼尔, Eliza MacNeal, 爱丽丝·普劳斯, Alice Prowse, 克里斯托弗·鲁津斯基和凯西, Kristopher Rudzinski, and 蒂尔曼 Cathi Tillman
我们将演奏一些太鼓合奏的标准曲目和原创曲目。
We will perform a selection of standard and original pieces for taiko ensemble drumming.
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菲律宾民间弦乐艺术协会
Philippine Folk Arts Society Rondalla (PFASI)
表演者包括 Performers: 阿伊达·里维拉, Aida Rivera, 维维安·默里, Vivian Murray, 埃尔布伦·蒙图亚, Elbren Montuya, 克里斯托弗·艾布辛, Christopher Absin, 詹姆斯·纽科, James Newcomer, 约书亚·纽科默, Joshua Newcomer, 罗曼·文图拉, Roman Ventura, 梅尔·克莱门特·德·古兹曼, Mer Clemente De Guzman, 吉内伯特·波利格拉茨, Genebert Poligrates, 雷内·奥尔特加, Rene Ortega, 兰迪·杜克,Randy Duque, 玛丽芙·多明戈, Marife Domingo
为呼应今年中秋联欢会的主题《Here to Stay（在此扎根》”，菲律宾民间弦乐艺术协会将以《这片土地是我的土地》开场，随后将演唱经典美国流行歌曲和菲律宾民歌。菲律宾民间弦乐艺术协会今年庆祝我们成立25周年！
In line with this year’s MAF theme, “Here to Stay,”PFASI Rondalla string ensemble will kick off their performance with the song “This Land is My Land” followed by old-time favorite American pop and Filipino folk songs. PFASI is celebrating its 25thanniversary this year!
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2点 - 3点30分 | 2:00 pm - 3:30 pm
莫德罗舞蹈团
Modero & Company
莫德罗舞蹈团将演唱以下歌曲：纳翁·塞卡，甘卓·古里特·曼吉尔甜任宫 。
Modero will be performing the following songs:“Nawung Sekar”, “Gandrung Gurit Mangir”,“Renggong Manis”.
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粤剧折子戏
Cantonese Opera
表演者 Performers: 陈姿, Mabel Chan, 麦素珠, SuZhu Mai
《花好月圆》
“Beautiful Flowers and a Full Moon”
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南费城开心舞蹈团
South Philadelphia Happy Dance Group
表演者 Performers: 仕香, Shu Xiang, 月梅, Yue Mei, 玉英, Yu Ying, 梅芳, Mei Fang, 阿微, Ah Wei, 骆平, Luo Ping
南费城快乐舞蹈团表演《火红的秧歌扭起来》与《张灯结彩》。
Dance performances: “Let’s Dance The Fiery Red Yangko” and “Light Up the Decorated Lanterns”.
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随意第五
Casual Fifth
表演者 Performers: 麦克·埃文斯, Mac Evans, 麦迪·霍普菲尔德, Maddie Hopfield, 石冢优也, Yuya Ishizuka, 迪·桑德罗·明, Akira Di Sandro, 曾一丹, Yidan Zeng, 林隼, Scout Hayashi, 前城君惠, Kimiye Maeshiro
随意第五将表演《屋台击鼓》，《劲爆鼓点》，《晚安牛仔》，《都市传奇》。
Casual Fifth will perform: “Yatai Uchi”, “Back Beat for the Hot Gossip”, “Konbanwa Cowboy”, “Urban Legend”.
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柬埔寨裔美国女孩赋予权力
Cambodian American Girls Empowering (CAGE)
少女线舞是一种广受欢迎的柬埔寨古典舞蹈，赞美年轻女性的美丽与自由。歌词歌颂了年轻柬埔寨人的创造力与艺术性，以及他们在传承与弘扬传统文化的同时迈向未来的能力。
Robam Neary Chea Chour, or Girl’s Line Dance, is a popular Cambodian Classical Dance that celebrates the beauty and freedom of being a young feminine person. The lyrics celebrates the creativity and artistry of young Cambodian people and their ability to move into the future upholding tradition and culture.
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拉辛·卡鲁，亚太裔事务委员会执行董事
Razin Karu, Executive Director Commission on AAPI Affairs
致辞
Speech
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3点30分 - 5点30分 | 3:30 pm - 5:30 pm
司仪：Emcees: Sophie Song 张林奕欣 Cindy Zhang黄乐生 Melody Wong
民艺特许学校筝合奏
Đàn Tranh Ensemble
三首著名的越南庆典民谣《月亮居住者》,《黑马之歌》， 《孔明登楼》。
Three famous celebratory Vietnamese folk songs “Chú Cuội” (The Moon Dweller), “Lý Ngựa Ô” (Song of the Black Stallion), “Khổng Minh Tọa Lầu” (On Top of the Citadel)
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大费城五月舞蹈团
Greater Philadelphia Mayday Dance Group
舞蹈团将表演两支舞蹈《 爱我中华 》（扇子舞）和 《梅花赋 》（京剧舞）。
The dance group will perform two dances ”Love My Zhonghua” (Fan Dance) and “Plum Blossom Ode” (Beijing Opera Dance)
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弧玫瑰
Arc Rose
表演者 Performers: 林登·格里尔, Lyndon Greer, 罗克西·涅维斯, Roxie Nieves, 妮娜·基安鲍, Nina Quiambao, 杰德·斯特林, Jade Sterling, 兰迪·怀特, Randi White, 查马拉·惠特尼, Chamara Whitney
弧玫瑰将表演 3 首歌曲，KATSEYE 的《Debut》，IVE的《I Am》以及 LE SSERAFIM 的《Antifragile》。
Arc Rose will be performing 3 songs: “Debut” by KATSEYE, “I Am” by IVE, and Antifragile” by LE SSERAFIM.
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里扬·庞达加
Riyan Pondaga
里扬·庞达加曾在国际舞台演出，代表印尼参加费城印尼节、纽约印尼夜市、波士顿印尼节。他将在中秋节演唱三首歌曲。
Riyan has performed internationally, representing Indonesia at the Philadelphia Indonesian Festival, New York Indonesian Night Market, Boston Indonesia Festival. He will be performing three songs at MidAutumn Festival.
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对明天的希望 (H4T)
Hope for Tomorrow (H4T)
表演者 Performers: 卡西, Cassy, 吴米歇尔, Michelle Wu, 索菲娅, Sophia, 斯凯拉, Skyla, 塞琳, Celine, 达雅娜, Dayana, 米凯拉, Mikayla, 奈, Nae, 摩根, Morgan
我们将表演 Twice 的歌曲《Strategy》的 K-pop 舞蹈翻跳。
We will be performing a kpop dance cover of Twice’s song, “Strategy”.
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黄梅调歌舞
HuangMei Opera with Dance
表演者 Performers: 陈姿与 Mabel Chan, COCO 舞蹈队, CoCo Dance Group and 吴月仙女士及Yuexian Wu
《 夫妻双双把家返 》
“The Couple Returning Home”
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特别佳宾致辞
Selected Officals Speeches
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莲花舞蹈团
Lotus Dance Ensemble
团将表演4支舞蹈《水》，《奇切尔迪克》，《迎宾舞（与哈达克族）》，《鄂尔浑女孩》
The ensemble is performing 4 dances, “Water”, “Chicherdyk”, “Welcoming Dance with Hadaks”, “Oirats Girls”.
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费城京剧社
Philadelphia Chinese Opera Society
1. 戏歌《赤伶》; 编舞和表演者：薛艺茗；指导老师：李淑媛，费城京剧社
戏歌《赤伶》吸取了传统戏曲的多种元素，又结合了现代通俗流行音乐的表现手法，舞蹈的编排更是吸取了戏曲的长绸舞。表演者载歌载舞 ，长绸飞飘，如彩虹挂天、仙女下凡。此曲着重表现戏曲旦角丰富的感情世界和凄美浪漫的舞台生涯。
1. Chinese Opera Song “Blood Actress” by Sofyia XueThe song Blood Actor draws stylistic inspiration from traditional Chinese opera and elements of Chinese classical aesthetics, blending them into a modern, cinematic pop sound. While not based on a specific traditional opera storyline, it pays homage to the “female roles”, female characters
2.京剧《霸王别姬》选段；表演者：徐娟. 指导老师：李淑媛，费城京剧社
此剧源出战国时代楚汉相争的故事。西楚霸王项羽被困垓下。项羽知大势已去，抚骓长叹；虞姬拔剑作舞。时汉军攻急，虞姬恐误其行，持剑自刎，以绝项羽恋念。项羽遂领兵出阵，战败，自刎乌江。楚终为汉所灭。
2. Peking Opera episode from “Farewell, My Concubine” Performer Juan Xu; Director Shuyuan LiIt’s a heart wrenching story of love and selfsacrifice in the Warring States period in ancient China. Lady Yu plays the sword to try to cheer up King Xiang Yu. When the enemy attacks again, Xiang bids farewell to Yu Ji who refuses to leave with him. Yu dances the sword dance before putting the sword to her own throat.
3. 京剧《闹天宫》选段：孙悟空大闹天宫; 表演者：李骏青饰孙悟空. 指导老师：李淑媛；费城京剧社
京剧《闹天宫》选段：孙悟空大闹天宫，斗哪吒耍罗猴，偷吃仙桃、饮喝琼浆玉液，捣毁王母娘娘的蟠桃盛会。
3. Episode from “The Monkey King”Performer: Junqing Li as Monkey King;Artistic Director: Shuyuan Li; PCOSIn this episode, the Monkey King causes havoc in Heaven, fighting the celestial army. He crashes the
Peach Party, making all sorts of mischiefs, getting drunk, and taking all the goodies back to his Flower and Fruit Mountain where he is the true King.
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民艺特许学校合唱团
FACTS Choir
合唱团将演唱《 我们的爱永存》和《月亮代表我的心》
The FACTS Teacher Choir will be singing “Our Love is Here to Stay” and “The Moon Represents My Heart”.
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吃月饼比赛
Mooncake Eating Contest
由特邀嘉宾威尔·格罗斯主持
Hosted by Special Guest Will Gross
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七点时请在十街与樱桃街（Cherry St)集合来参加由费城太阳队带领的灯笼游行！
Join the lantern parade, led by the Philadelphia Suns and parade through
Chinatown, starting at 10th and Cherry Streets at 7:00 pm!
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第三十届华埠中秋节联欢会
30th mid-autumn festival program
社区舞台
Community Stage
10th and Spring Street
1点50分 - 4点50分 | 1:50 pm - 4:50 pm
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中华基督教会与中心舞蹈团
Chinese Christian Church and Center Dance Group
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ASAO
表演者：李凯伦、达雅娜·科希、陈奕蒙、刘布兰登、金嘉丽、朱莉埃塔·胡安尼扎（乌斯奇）、刘倩、段南希、杨妮娜、陈安妮、潘薇薇、冯诗怡、黛安·迪亚帕克、凯特·道格拉斯、严艾米丽、柯娅、华阿曼达、阿因·赫尔南德斯、杨梦玲、叶康妮、贾斯林·坦托罗、苏莫尼卡、基基·迪克森、梅丽娜·希。
Performers: Karen Li, Dajana Qoshii, Yimeng Chen, Brandon Lau, Carrie Kim, Giulietta Juaniza (Uschi), Qian Liu, Nancy Doan, Nena Yang, Anne Chen, Vivian Poon, Shiyi Feng, Diane Diapac, Kate Douglas, Emily Yan, Kiera Keo, Amanda Hua, Ayin Hernandez, Meng Ling Yang, Connie Ye, Joycelline Tantoro, Monica Sok, Kiki Dixon, and Melina Sy.
ASAO 将表演 扇子舞、伞舞及 K-pop 舞蹈。扇子舞和伞舞是越南文化的一部分，将在表演中呈现，同时还 有几支 K-pop 歌曲。
ASAO will be showcasing Fan, Umbrella, and K-pop dances. Fan and Umbrella are part of Vietnamese culture that will be showcased, alongside a few K-pop songs.
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Killshot
Killshot 将表演一组 K-pop 歌曲串烧，展现完美的秋日氛围。曲目包括：Idle 的《Hwaa》, Yena 的 《Wicked Love》,Irene/Seulgi 的《Tilt》,Viviz 的 《Cliche》,Dreamcatcher 的《BEcause》登台表演的成员有：阿玛尼、迪亚曼、珍妮、乔什、雷尔、塞琳娜和索菲娅。
Killshot will be performing a medley of k-pop songs that will showcase the perfect fall vibes. The setlist consists of “Hwaa” by Idle, “Wicked Love” by Yena, “Tilt” by Irene/Seulgi, “Cliche” by Viviz and lastly “BEcause” by Dreamcatcher. The ones who will be taking the stage are Amani, Diamyn, Jeanny, Josh, Rell, Selena, and Sofia!
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ALTER 舞蹈团
ALTER Dance Crew
舞者： 维克，达娜厄，黛嘉，林恩，比，克里斯，与康妮
Dancers: Vick, Danae, Dajia, Lynn, Bee, Chris, and Connie
一系列全新韩流歌曲，供大家欣赏。两支团体舞和两支分队舞将为观众带来精彩表演。
A series of newer k-pop songs for everyone to enjoy. Two group and two unit dances will delight viewers!
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Taggz柔术
Taggz Jiu-Jitsu
一场精炼示范,呈现多种柔术技法及其在真实对抗中的应用。
A short demonstration showcasing various Jiu Jitsu techniques and their applications in real world fighting.
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Choom Boom
表演者：陈诺拉、松宗美弥、郭温迪、户山艾莉、卡尔蒂克·真由香
Performers: Norah Chinn, Miya Matsumune, Wendy Guo, Ellie Toyama, Mayuka Karthik
《Blue Hour》，一首 Tomorrow X Together 的歌， 捕捉了下午 5:53 观看日落的神奇时刻。被称为“蓝色时光”，这短暂的日夜交替时刻象征着青春的过渡与成长中的酸甜情感。
“Blue Hour” by Tomorrow X Together is a song that captures the magical moment of watching the sunset at 5:53pm. Known as the “blue hour,” this fleeting time between day and night reflects the transition of youth and the bittersweet affections of growing up.
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TUKovers
表演者：艾娃、科琳、伊芙、朱莉、露娜、玛莉
performers: Ava, Corenne, Eve, Juli, Luna, and Marley.
TUKovers 将表演一组 K-pop 女团串烧，曲目包含欢快与偏暗的歌曲。
TUKovers is performing a K-pop girl group medley with a mix of upbeat and darker songs.
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NXTUS
表演者：萨沙、弗兰基、卡尼娅、莎拉、日内瓦、阿曼达、桑娜、 艾弗里、安东尼、克里斯、艾玛尼、乔瓦尼、贾奈、卡莉、基特、 凯拉、拉赫、鲁本、保罗、蒂耶拉
Performers: Sasha, Frankie, Ca’Nyah, Sarah, Geneva, Amanda, Sanna, Avery, Anthony, Chris, Emani, Giovanni, Janai, Karley, Kit, Kyla, Rah, Ruben, Paolo, and Tierra.
NXTUS 将表演 4 首歌曲：BOYNEXTDOOR 的《I Feel Good》、ifeye 的《R U OK?》、TXT 的《Love Language》以及 ITZY 的《Kiss & Tell》。
Nxtus is performing 4 songs: “I Feel Good” by BOYNEXTDOOR, “R U OK?” by ifeye, “Love Language” by TXT, and “Kiss & Tell” by ITZY.
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许愿门
WISHDOOR
表演者：阿尼科·巴兰斯基、加布·加巴桑、路易斯、摩根· 威尔金斯、吴晓静和阿达·村。
The lineup is stacked with new and old faces: Aniko Baranski, Gabe Gabasan, Louis, Morgan Wilkins, Xiaojing Wu, and Ada Cun.
许愿门正在为NCT WISH的“Poppop”提供新的舞蹈封面。
WISHDOOR is serving up a fresh dance cover of NCT WISH’s “Poppop”.
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碰撞舞蹈团
Collide Dance Crew
表演者：雷娜·金、迪兰·佩雷拉、奥利维亚·查莱塔、阿尔希娅·格、CC·黄、安德里亚·雷诺兹、切拉·泰勒
Performers: Rayna King, Dylan Perera, Olivia Charletta, Arshia Singh, CC Vuong, Andréa Reynolds, Chaela Taylor
碰撞舞蹈团将表演 P1Harmony 的《Pretty Boy》及 aespa 的《Dirty Work》。
Collide will be performing “Pretty Boy” by P1Harmony and “Dirty Work” by aespa.
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斯利克
Slique
斯利克是来自费城的舞蹈团队，带来满满好 vibes，让你起床动起来！今天，他们将表演一支名为《Get Up》 的舞蹈。Slique 的原创编舞曲目包括 Tyla 的《Is It》 、Beyoncé 的《Baby Boy》以及 Soulja Boy 的《Kiss Me Through the Phone》，并将表演一段 J-Hope 的 《Killin It》短串烧。
Slique is a group of dancers from Philadelphia who are bringing good vibes to help you get up out of your beds! Today, they will be performing a piece called “Get Up.” Slique is performing original choreo to: “Is It” by Tyla, “Baby Boy” by Beyonce, and “Kiss Me Through the Phone” by Soulja Boy. They will also be doing a short cover of “Killin It” by Jhope.
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曼迪芒果
Mandy Mango
变装皇后曼迪芒果将表演一段舞蹈与 K-pop 歌曲的对口型混合秀。
Drag queen Mandy Mango is performing a dancelip sync K-pop mix.
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艺术家简介
About our artists
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ALTER舞蹈团
ALTER Dance Crew
ALTER Dance Crew 是一支位于南泽西/费城的 K-POP 翻唱团体，其前身是 Question Dance Crew，深受人们喜爱。
ALTER Dance Crew is a K-POP cover group based in South Jersey/Philly formally known and loved as Question Dance Crew.
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弧玫瑰
Arc Rose
Arc Rose是位于费城地区的K-pop翻唱舞蹈团Arc Rose是 一个自学成才的舞者团体，他们希望通过我们的封面来娱乐粉丝和表演。
Arc Rose is a K-pop cover group located in the Philadelphia area. Arc Rose is a group of selftaught dancers looking to have fun performing and entertaining fans with our covers.
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美籍亚裔学生协会
ASAO (American Students of Asian Origins)
ASAO舞者由Central高中的二、三、四年级学生组成。该社团是费城最大的多元文化亚裔高中社团。
ASAO dancers are a mix of sophomores, juniors, and seniors from Central High School. The club is the largest multi-cultural Asian high school club in Philadelphia.
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柬埔寨裔美国女孩赋予权力
Cambodian Americans Girls Empowering
柬埔寨裔美国女孩赋权是一个由志愿者领导的组织，其使命是为探索柬埔寨裔美国艺术，文化和身份创造安全空间。 我们的工作植根于我们对柬埔寨古典舞蹈的共同热情。
Cambodian American Girls Empowering is a volunteerled organization with a mission to create safe spaces for the exploration of Cambodian American arts, culture, and identities. Our work is rooted in our shared passion of Cambodian classical dance.
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随意第五
Casual Fifth
Casual Fifith由马克·埃文斯和亚历克斯·费斯特指导，是一家位于费城的舞蹈和太鼓合奏团，致力于创造植根于日本合奏鼓以及现代舞的基础和历史的作品。
Casual Fifth, directed by Mac Evans and Alex Pfister, is a dance and taiko ensemble based in Philadelphia, creating innovative work rooted in the fundamentals and history of Japanese ensemble drumming and modern dance.
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张树培洪家功夫学院
Cheung’s Hung Gar Kung Fu
张树培于1984年将洪家拳引入费城。洪家拳是中国传统武术流派，以五种动物——虎、鹤、龙、蛇、豹——的强劲招式而闻名。与中国武术相关的最欢乐传统之一是舞狮，它用于带来繁荣、驱邪避凶，并迎接好运！
Shu Pui Cheung introduced Hung Gar Kung Fu to Philadelphia in 1984. Hung Gar is a traditional style of Chinese martial arts, famous for its powerful techniques inspired by five animals: the tiger, crane, dragon, snake, and leopard. One of the most joyful traditions connected to Chinese martial arts is the Lion Dance, performed to bring prosperity, drive away bad spirits, and welcome good luck!
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中华基督教会与中心舞蹈团
Chinese Christian Church and Center Dance Group
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Choom Boom
Choom Boom是布林茅尔学院与哈弗福德学院的双校区(Bi-Co) K-pop舞蹈社团。
Choom Boom is Bryn Mawr College and Haverford College’s Bi-Co K-pop dance club.
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民艺特许学校合唱团
Folk Arts–Cultural Treasures (FACTS) Charter School Teachers’ Choir
民艺特许学校相信艺术和文化在我们的生活中是很重要的。合唱团在学校唱歌排练时将逐步开放。当我们在第二年开始,老师们集合他们的声音,与我们的学生和社区分享。
FACTS Charter School believes in the importance of art and culture in all of our lives. The Teachers’ Choir grew out of our school’s practice of opening our gatherings with singing. The teachers are learning to raise their voices together, sharing songs with our students and the community.
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民艺特许学校筝合奏
Folk Arts–Cultural Treasures (FACTS) Charter School Đàn Tranh Ensemble
Ngô Thanh Nhàn，语言学博士，是天普大学越南哲学、 文化与社会中心越南诺姆和民间音乐研究研究员。 Nhàn博士是越南橙剂救济与责任运动的协调员。目前，在亚裔联合会的支持下，他在民藝特許學校教授 đàn tranh（越南 16 弦古筝）。Nhàn 博士还在由纽约湄公组织主办的曼哈顿音乐与语言学院有限公司的混合式16弦古筝的集训课程。他将与菲奥娜·赵一起演出。
Ngô Thanh Nhàn, Ph.D. Linguistics, is a fellow in Vietnamese Nôm and Folk Music Studies of the Center for Vietnamese Philosophy, Culture & Society of Temple University. Dr. Nhàn is a coordinator of the Vietnam Agent Orange Relief & Responsibility Campaign. He currently teaches đàn tranh [Vietnamese 16-string zither] at the Folk Arts–Cultural Treasures Charter School with the support of Asian Americans United. Dr. Nhàn also organizes regular hybrid đàn tranh intensive classes under Manhattan Academy of Music and Language, Inc. in New York hosted by Mekong NYC. Dr. Nhàn will perform with Fiona Zhao.
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费城大区五月舞蹈团
Greater Philadelphia Mayday Dance Group
费城大区五月舞蹈团由 闫武毅 领导，多年来一直在 AAU中秋节上表演。
The Greater Philadelphia Mayday Dance Group is led by Wuyi Yan. They have performed for many years at the AAU Mid-Autumn Festival.
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明天的希望
Hope for Tomorrow (H4T)
H4T, 全称 “Hope For Tomorrow”, 是一个2019年在费城建立的K-Pop翻跳舞团。H4T现有47位成员，今天会给大 家带来三支K-Pop舞蹈！
H4T, short for Hope for Tomorrow, is a K-Pop dance cover group founded in 2019. They are a Philadelphia based group, now with 47 members. They will be performing a variety of K-Pop choreography at the festival today!
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Killshot
一击制胜，双重杀伤。Killshot 是一支来自新泽西南部的舞蹈团，深受 K-pop 舞蹈文化启发。我们于 2025 年初成立了这支舞蹈团队，目前由七位才华横溢且多元化的成员组成。
One shot, double kill. Killshot is a South Jersey-based dance crew that is heavily inspired by K-pop dance culture. We created this dance team in the beginning of 2025 and it currently consists of seven talented and diverse members.
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京大鼓
KyoDaiko
KyoDaiko 成立于2005年，是一个基于费城的日本太鼓社区团体。志愿者成员因为对艺术的热爱和太鼓给与他们的力量而表演。该团体定期参与广泛的社区活动表演，从Phillies棒球比赛，到日本的节日，到更不寻常的场合，如辊德比和婚礼。KyoDaiko提供定期的日本太鼓课程，可以参加活动，研讨会和团队建设活动。
KyoDaiko is a Philadelphia-based, community taiko group founded in 2005. The volunteer members perform for the love of the art and the energy that the great drums give them. The group performs regularly at a wide range of venues from community events, to Phillies baseball games, Japanese festivals, and more unusual settings such as roller derbies! KyoDaiko offers regular taiko classes and can be hired for events, workshops and team-building activities.
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曼迪芒果 Mandy Mango
曼迪芒果是费城最甜美的水果。作为一名变装皇后，她喜欢展示华丽的时尚、高能的表演以及性感又俏皮的幽默。在费城各地表演时，Mandy与她的粉丝分享东西方的灵感与个人身份。
Mandy Mango is the sweetest fruit of Philadelphia. As a drag queen, she loves to showcase extravagant fashion, high-energy performance, and sultry silliness. Performing across Philadelphia, Mandy shares her Eastern-Western inspirations and identity with her fruity fans.
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莫德罗舞蹈团
Modero & Company
Modero 是一个社区团体，其使命是通过舞蹈，美食和社会变革活动来保护和推广传统的印尼文化。
Modero is a community group with a mission to preserve and promote the traditional Indonesian culture through dance, food, and events for social change.
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NXTUS
Next is Us! NXTUS 是一支舞蹈翻跳团，专注于 K-pop 舞蹈翻跳与表演，成员位于费城地区。
Next is Us! Nxtus is a dance cover group that focuses and specializes in K-pop dance covers and performances based in the Philadelphia area.
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费城京剧社
Philadelphia Chinese Opera Society, Inc. (PCOS)
费城京剧社旨在弘扬京剧国粹，促进中西文化交流，为京剧演员及京剧爱好者提供演出学习机会。剧社成立于1999年，是一个非赢利的集教学、演出为一体的文艺团体。有常驻专业艺术指导老师李淑媛及多名专业演员。会员包括周边三州的少儿、成年票友。日常活动包括每周身段、吊嗓课、一年一度的美东票友会、专业公演、社区演出等。
Philadelphia Chinese Opera Society (PCOS) is committed to the promotion and preservation of the cultural heritage of the Chinese community in the form of Chinese Opera through educational activities and touring engagements. Led by acclaimed Artistic Director Shuyuan Li, PCOS conducts educational activities including classes on all aspects of Chinese Opera and public performances throughout the region.
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菲律宾民间弦乐艺术协会
Philippine Folk Arts Society Rondalla (PFASI)
菲律宾民间艺术协会(PFASI)，是一个非营利组织，其使命是通过民间音乐、传统舞蹈、语言和文化庆祝活动来提高人们对菲律宾文化和传统的认识。
The Philippine Folk Arts Society, Inc. or PFASI is a nonprofit organization with a mission to promote awareness of the culture and traditions of the Philippines through folk music, traditional dances, language and cultural celebrations.
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费城太阳
Philadelphia Suns
费城太阳队自1972年成立以来，一直在表演传统的中国狮子舞。这种已有1000年历史的文化舞蹈作为武术训练的一部分代代相传，在节庆场合如开业典礼、婚礼、聚会和其他特殊活动中表演，旨在驱逐邪灵。如今，狮子舞已演变为一种庆祝性的舞蹈，舞者们在鼓、锣和钹的节奏音乐下进行杂技般的动作。我们的团队由志愿者组成，所有捐款都用于支持我们的项目。
The Philadelphia Suns have performed traditional Chinese Lion Dance since our inception in 1972. This 1000-year-old cultural dance has been passed through the generations as part of martial arts training. Traditionally performed at festive occasions like grand openings, weddings, parties and other special events, a lion dance is performed to scare away evil spirits. Today, lion dances have taken on the form of a celebratory dance where acrobatic movements are performed to rhythmic music of drum, gong, and cymbal. Our team is composed of volunteers and all funds go towards our programs.
里扬·庞达加
Riyan Pondaga
Riyan Pondaga 是一位印尼歌手，首张 EP 于 2017 年发行。Riyan 是首位印尼偶像（西爪哇赛区）及 Smule 全球新晋艺人。
Riyan Pondaga is an Indonesian singer. His debut EP was released in 2017. Riyan is the first-ever Indonesian Idol (West Java Region) and a Smule Global Rising Artist.
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Slique
Slique 将为大家带来融合 90 年代风格与原创编舞的流行音乐表演。我们的表演融合了美式流行与 K-pop 元素，完美展现了团队的氛围。我们是来自费城各地的舞者，合作呈现一场充满活力的精彩表演。
Slique is here to entertain you with pop music mixed with 90’s style and original choreography. Our performance is a mix of American pop and kpop elements that perfectly represent the vibes of our group. We are dancers from around Philadelphia that have collaborated to create an exciting upbeat performance.
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南费城开心舞蹈团
South Philadelphia Happy Dance Group
该舞团自2010年起一直在一起表演舞蹈。
The dance group has been dancing and performing together since 2010.
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Taggz Jiu-Jitsu
Taggz Jiu Jitsu 是坐落於費城華埠心臟地帶的專業柔術館,以實戰為核心,專注教授當今世界最現代、最有效的格鬥與防身技術。
Taggz Jiu Jitsu is a martial arts school in the heart of Chinatown, focused on teaching the most modern and effective fighting techniques the world has to offer.
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TUKovers
TUKovers 是天普大学的学生组织。我们是一支翻跳团，进行舞蹈和歌曲翻唱表演。
TUKovers is a Temple University student organization. We are a cover group that does both dance and vocal covers.
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WISHDOOR
WISHDOOR是一群热爱表演世界各地不同舞蹈的大学生。舞蹈提供了一种逃避学校和成长负担的方式。
WISHDOOR is a group of college students who came together with a love for performing different choreographies from around the world. Dance provides an escape from the burdens of school and growing up.
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special thanks
特别感谢
Asian Americans United wishes to thank the following Festival Sponsors for generously supporting the 2025 Chinatown Mid-Autumn Festival in its 30th Year!
亚裔联合会感谢以下节日赞助商在第三十届 2025 华埠中秋节的慷慨支持！
Special thanks to the following Chinatown businesses and community members
特别鸣谢以下华埠商店与社区人士：
Ming River Sidewalk Cafe 闽江街边小吃
Shaxian Delicacies 沙县小吃
Sang Kee Peking Duck House 生记烧腊
Prince Tea House 皇室茶园
Banana Leaf: Malaysian Cuisine 马来蕉叶
Chinese Noodle Factory 大运食品
Hung Vuong Food Market 恒发超市
Jin Wei 津味快餐店
Yummy Yummy
Funders/Sponsors 基金会和赞助商
Asian Americans United wishes to thank the following funders and sponsors for generously supporting Asian Americans United’s Chinatown Mid-Autumn Festival:
衷心感谢以下资助者和赞助商对亚裔联合会唐人街中秋联欢会的慷慨支持：
民艺学校 FACTS
亚洲银行 ASIAN BANK
PHILADELPHIA CULTURAL FUND
美华社 CUS-ChineseinUS
WSFS bank
陈治平 Alex Chen
PECO
UNIVEST
TD Bank
Board of Directors
Jenny Wenjie Chen
Teresa Engst
Aishika Jennela
Symbol Lai
Huidan Mei 梅惠丹
Neeta Patel
Alice Vuong 黄爱丽
Renyu Wu 伍稔瑜
Staff
Vivian Chang, Executive Director
張良琪, 执行主任
Wei Chen, Civic Engagement Director
陈威, 公民参与主任
Yvonne Lung, Operations Manager
龙仪凤, 运营经理
Cinthya Hioe, Communications and Youth
Programs Manager 青少年项目与社交媒体运营经理
Shihong Lin, Civic Engagement Field Organizer
林世鸿, 公民参与现场主管
Peri Law, Youth Programs Coordinator
罗月明, 青少年项目协调员
Lisa Xiang Li, Bilingual Youth Programs
Coordinator
李想, 双语青少年项目协调员
Elena Emelchin Brunner, Immigrant Rights
Organizer 移民权利组织者
Lauren Lowe, Solidarity Movement Organizer
刘爱玲, 团结运动组织者
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