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El arte urbano le cambia la cara a la comuna 13 de Medellín

Medellin, 23 agosto 2016 — En una comuna deprimida de Medellín, el hip hoppermitiócomunicar un mensaje de paz y mostrar que el arte y el trabajo comunitario son medios de resistencia a la vida delincuencial y al conflicto. El arte cambióla percepción que los habitantes tienen de su barrio y mejoró la reputación de la comunidad. Leer más.

ESPAÑOL

ENGLISH

El arte urbano le cambia la cara a la comuna 13 de Medellín

Lou D'Angelo, Gestor Comunitario de Medellin

Mientras Medellín era “la ciudad más peligrosa del mundo”, la comuna 13 era su centro neurálgico. En esta comuna entraron las guerrillas, los narcos, y los paramilitares. Pero según sus habitantes, el momento más terrible fue cuando los militares invadieron los barrios durante la « OperaciónOrión » de 2002, una operación que ha sido ampliamente cuestionada por las víctimas civiles que dejó, el número de desaparecidos y ejecuciones extrajudiciales.

Con la llegada del alcalde Fajardo en 2004, nace la idea de pagar la deuda social con aquellas zonas olvidadas por el Estado, y se multiplica la inversión estatal en la comuna 13. Se inicia el proceso de « presupuesto participativo », se construyen escaleras eléctricas y un teleférico para mejorar la movilidad, y se apuesta en la educación con la construcción de nuevas bibliotecas.

Si la intervención estatal en la comuna 13 es clave para entender su transformación y la reducción de la violencia, se destacan también las iniciativas comunitarias, y sobre todo las iniciativas culturales. De esta historia terrible, nació una tradición de organización comunitaria einiciativa popular fuerte.

El mejor ejemplo de esta dinámica es el hip hop. Unos jóvenes aspirando a dar una alternativa a los chicos para no caer en la criminalidad fundaron la Casa Kolacho, un centro cultural de hip hop, donde se ensena el rap, el grafiti, el break dance y la creación musical (DJ). Ahí se comunica un mensaje de paz, se quiere hacer « una revolución sin muertos ». Casa Kolacho es uno de los tantos movimientos artísticos de la comuna 13, como Casa Morada, Hip Hop C15, Camaleón Producciones, Agro Arte, que trabajan para mostrar que el arte y el trabajo comunitario son medios de resistencia a la vida delincuencial y al conflicto. El rapero Jeihhco del grupo C15 es una de las voces principales de este movimiento, mientras el grafiter o Jomagha logrado cambiar lugares grises por espacios llenos de arte y color, con la idea que esta transformación del entorno cambia la vida de él que lo habita.

Los jóvenes de la comuna 13 han encontrado el apoyo de la alcaldía en este movimiento artístico. A través del programa “Medellin se pinta de vida”, la alcaldía ha financiado pintura para que los artistas locales puedan pintar murales, y para que los habitantes del barrio puedan pintar las fachadas de sus casas de todos los colores. Esta iniciativa ayudóa restaurar la relación entre la comunidad y las autoridades, y entonces a mejorar la confianza de los habitantes en las instituciones locales, un proceso enmarcado en la cultura del Urbanismo Pedagógico que promueve la Alcaldía de Medellín.

Los grafitis no solo cambian estéticamente el espacio, sino también la percepción que los habitantes tienen de su barrio. “Se convierte en un área que se puede frecuentar más, que es más habitable y muy llamativo para las personas” afirmó Jomag. Asimismo, se fortalece la apropiación y el sentido de pertenencia por parte de la comunidad.Además, con el hip hop, los jóvenes no solo mandan un mensaje de paz, sino de resistencia cultural pacífica y activismo comunitario.“El arte y la cultura han ofrecido a estos jóvenes lo que el sistema político y la economía no les podía ofrecer: un lugar en la sociedad” afirmó Lucía González, trabajadora social.

El arte también le da otra imagen al barrio, y así mejora la reputación de la comunidad. Muchos habitantes de la comuna 13 se sienten discriminados solo por el barrio donde viven, pero poco a poco, la percepción cambia de adentro hacia afuera. En julio de 2016, una charla TED sobre la transformación de la comuna 13 fue organizada en la misma comuna, y atrajo visitantes de toda la ciudad así como extranjeros, demostrando el interés que genera esta transformación impulsada por la cultura.

Otro logro es que el arte urbano sirve como archivo histórico, ya que muchos grafitis & canciones narran el conflicto, contando los hechos violentos para reconstruir la memoria colectiva y para que no se repita la historia. El grafiti “Orión nunca más” muestra un niño que mira por un vidrio roto por una bala, y en el fundo se ve un helicóptero del Ejército disparando.

Esta transformación cultural no se ha hecho sin dificultad: 10 artistas de hip hop fueron asesinados por los combos, y hoy en día persiste la violencia en la comuna 13. Además de decir a los jóvenes que le den la espalda a los combos, los artistas llaman la atención sobre los problemas de la comuna, y por ende, llaman a una presencia institucional mayor en el territorio. En 2009 asesinaron a “Kolacho”, líder de ese movimiento artístico. Su amigos quisieron expandir su legado, y así nació la escuela de hip hop “casa Kolacho”. En 2012 asesinaron a otro rapero, El Duque, y amenazaron al resto del colectivo, lo que provocóel desplazamiento forzado de la Comuna de 76 jóvenes artistas.

El camino está sembrado de escollos, pero hoy la comuna 13 se está transformando gracias al esfuerzo conjunto de Gobierno y ciudadanía, y esta experiencia nos muestra como el arte puede ser agente de cambio.
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Photo credit: Colores Mari

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ENGLISH

Social development through art

Chittagong, 22 August 2016 — Along the southern coastline of Chittagong lies the world’s largest ship-breaking yard. Thousands of people work hazardous jobs to cut down giants of the ocean into salvageable metal and make a living on less than two dollars a day. See more.

ENGLISH

Social development through art

Preyanka Chowdhury, Chittagong Community Manager

Chittagong, 22 August 2016

Along the southern coastline of Chittagong lies the world’s largest ship-breaking yard. Thousands of people work hazardous jobs to cut down giants of the ocean into salvageable metal and make a living on less than two dollars a day. This poverty stricken community of ship-breakers and fishermen living in squalor in an otherwise picturesque setting have very little opportunities to develop themselves. The severe lack of infrastructure and almost no schooling entrenches the future generations of these communities to live in a constant cycle of poverty. The children here are forced to take up fishing or other menial manual labor jobs to support their families in desperate need of additional working hands.

CODEC (Community Development Centre) a non-government organization (NGO) since 1985 have helped these impoverished communities by working for their basic rights. They obtain aid from various international and national organizations to give out services like micro credit loans, free educational facilities, scholarship programs, sanitation projects and many more. CODEC also focuses on life education as they believe it is the ultimate tool to bring forward enlightenment in terms of literacy and social awareness which can further bring about economic and communal development.
One such tool used by CODEC for life education is through art. They encourage children and youth to participate in art workshops held at their schools and even write poetry and take part in narrative plays. CODEC aims to tackle issues like land dispute, familial conflicts, poverty and death. Education on surviving natural disasters like cyclones and floods and working in stormy seas are also part of the art awareness programs.

The art workshop not only manage to extract issues out of the powerful young minds but also enables CODEC to scrutinize their social standing. With the issues in mind, CODEC conducts discussion groups with the fishermen communities to address the problems and the corrective measures that needs to be adopted to counter them. In such a manner, CODEC not only works for the benefit of these deprived communities but also focus on attracting government attention and aid to cater to issues like free educational system, food supplies and skill development workshops and diversified job opportunities for the fishermen and their families when they are unemployed in particular months of the year.

Expression through forms of art in Bangladesh is still at its infancy. In Chittagong, the usage of art to convey developmental issues is rarer still. CODEC is one of the few who has taken the initiative to tackle these socio economic issues from a different light, which is indeed very commendable. Close.

Photo: GMB Akash

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BAHASA INDONESIA

ENGLISH

Mural sebagai bentuk Seni Urban dan Perlawanan Sosial

Surabaya, 19 August 2016 — Seni mural menjadi salah satu bentuk perlawanan terhadap fenomena ketidakadilan sosial di masyarakat. Kelompok Serikat Mural Surabaya merupakan salah satu pelaku aktif mural sebagai seni perlawanan. Komunitas ini merupakan gabungan siapa saja dengan visi serupa. Mereka bekerjasama lintas komunitas dan bersama dengan warga kampung menyuarakan kegelisahan fenomena kemiskinan di perkotaan. Baca lebih lanjut.

BAHASA INDONESIA

ENGLISH

Mural sebagai bentuk Seni Urban dan Perlawanan Sosial

Widya Anggraini, Surabaya Community Manager

Surabaya, 19 August 2016

Mural merupakan salah satu bentuk seni lukis yang menggunakan media dinding, tembok atau permukaan luas lainnya yang bersifat permanen. Kebanyakan mural dilakukan di ruang publik yang bertujuan untuk mendidik dari sisi visual. Selama ini media untuk menyampaikan opini atau gagasan kerap melalui media cetak dan elektronik. Namun demikian, masyarakat juga membutuhkan media yang komunikatif dan efektif untuk menyampaikan opini. Seni mural pada awalnya hadir di Indonesia pada jaman perang kemerdekaan dimana lukisan di dinding dibuat sebagai bentuk ekspresi perlawanan yang dilakukan secara diam-diam. Kini mural telah telah menjadi bagian luas dari masyarakat bukan hanya sebagai media penyampai aspirasi namun juga media perlawanan sosial. Surabaya memiliki komunitas Serikat Mural Surabaya yang aktif menggunakan seni mural sebagai bagian dari perlawanan ini secara visual.

Serikat Mural Surabaya (SMS) merupakan pelopor mural di Surabaya. Komunitas ini merupakan gabungan dari kelompok street art (baik graffiti maupun mural) yang ada di Surabaya dan Sidoarjo yang sepakat untuk membentuk komunitas berbasis seni visual jalanan. Komunitas ini bersifat terbuka baik individu maupun kelompok yang memiliki semangan perlawanan khas visual jalanan. Mereka yang tergabung dalam SMS memiliki beragam profesi seperti pelajar, karyawan, pekerja kantor, desainer, illustrator, seniman dan sebagainya. Mereka secara aktif melakukan mural di Jalanan dan memberikan dampingan terhadap pelaku street mural lainnya dan bekerja dengan kampung-kampung di Surabaya untuk aktivitas mural.

Serikat Mural Surabaya memiliki banyak kegiatan mingguan seperti membuat karya-karya mural atau street art di jalanan dan ruang publik lainnya bersama dengan komunitas mural maupun masyarakat kampung sasaran. Kebanyakan kerja SMS berkolaborasi dengan lintas komunitas seperti WPAP chapter Jatim, Cukil Kayu dan komunitas mural dan kreatif lainnya di Surabaya. Selain itu SMS juga aktif mengadakan pameran seperti urban dan street art, membuat kompilasi seni yang kemudian di cetak serta membuat buku atau stiker sebagai buah tangan.

Serikat Mural Surabaya juga aktif mengajarkan mengenai mural melalui forum-forum diskusi, workshop dan pendampingan terhadap para pelaku street art mural. Kegiatan terakhir yang baru saja mereka kerjakan adalah Bamboo Mural Festival yang merupakan kerja bersama dengan warga kampung keputih timur gang pompa air. Festival ini diselenggarakan sebagai bagian dari upaya menggabungkan seni dan inisiatif sosial dimana hasil mural yang dilukis diatas bamboo akan dijual dan hasilnya disumbangkan dan digunakan kepada warga kampung urban. Aktivitas ini merupakan kerjasama antara SMS, Padepokan Cokroaminoto, perkumpulan boemi poetra, sekolah rakyat dan semua warga kampung.

Ibu Risma sendiri sebagai walikota Surabaya menyambut baik fenomena mural di kotanya. Menurut beliau seni mural dapat dijadikan destinasi wisata dan mempercantik kota. Hal ini merupakan pernyataan positif yang berbeda dari kebijakan walikota sebelumnya yang kerap menangkap pelaku seni mural dan membubarkan secara paksa ketika mereka melakukan mural. Sinyal positif ini diterima dengan baik oleh kawan-kawan komunitas mural di Surabaya. Namun demikian masih banyak kekhawatiran jika ini hanya merupakan lip service pemerintah dan tanpa melibatkan mereka dalam perencanaan dan pelaksanaannya karena bagaimanapun seni mural sudah memiliki sejarah sendiri di kota dan dikhawatirkan kebijakan ini akan justru menurunkan fungsi mural sebagai salah satu bentuk perlawanan terhadap ketidakadilan sosial dan bukan melulu tentang mempercantik kota. Close.

Photo: Proble Matikx‏

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PORTUGUÊS

ENGLISH

O teatro pode transformar a realidade?

Rio de Janeiro, 18 agosto 2016 — Como um grupo de jovens mulheres da Maré encontrou no Teatro do Oprimido uma maneira de falar abertamente sobre temas tabu em sua comunidade, como machismo e racismo. Leia mais.

PORTUGUÊS

ENGLISH

O teatro pode transformar a realidade?

Felipe Villela, Coordenadora da Rede em Rio de Janeiro

Rio de Janeiro, 18 agosto 2016

“Uma vez, no fim de uma apresentação um senhor gritou: se Deus colocou leite no peito da mulher é para ela servir à família.” Como lembra Maiara Carvalho, esta foi uma das reações mais inesperadas depois de se apresentar em praça pública. A surpresa não foi apenas pela reação do idoso, mas porque um menino se levantou para discordar: “tudo o que ela quer é ser feliz”. Os dois estavam respondendo aos atores que perguntaram à plateia o que achavam da personagem oprimida pelo marido.

Maiara Carvalho é integrante do Maré 12, um grupo formado por sete garotas, entre 16 e 21 anos, que há um ano e meio fazem experiências com o método do Teatro do Oprimido (TO). Elas são vizinhas no pedacinho da Maré que fica entre a passarela 12, sobre a Avenida Brasil, e o piscinão de Ramos – uma área de lazer construída na faixa de areia de uma praia com água tão suja que ninguém pode mergulhar no mar.

O grupo surgiu depois que alguns “curingas” chegaram na sua comunidade. Um destes “artistas ativistas com uma função pedagógica” era Alessandro Conceição, que acumula 10 anos de experiência em “curingagem”. Segundo ele, a ideia do projeto TO na Maré era utilizar o teatro como ferramenta para debater políticas públicas com os jovens e pensar como poderiam interferir nas ações do governo, além de discutir hábitos opressivos reproduzidos dentro da comunidade. Desde 2014, pelo menos 500 jovens participaram de atividades em escolas públicas, postos de saúde, centros culturais e instalações de ONGs.

O método seguido pelos curingas é sempre o mesmo: encenar situações de opressão e convidar a plateia para interferir na história. Espectadores podem até mesmo entrar na cena e substituir a personagem oprimida para experimentar diferentes reações. Apesar do método deste Teatro Fórum não mudar muito, cada apresentação é única, já que o argumento e o desfecho da cena variam conforme o público. Na Maré, por exemplo, os temas que mais apareceram foram, em ordem de frequência, machismo, racismo e o estigma enfrentado fora da favela, quando saem para procurar trabalho ou estudar numa universidade.

O projeto TO na Maré deve terminar em breve, quando acaba o prazo de dois anos de financiamento da Petrobras, mas se espera que as sementes espalhadas pela comunidade deem mais frutos. Como o Maré 12 e, especialmente, Maiara – que está estudando para ser curinga e fazendo graduação em pedagogia. Close.

Foto: Ney Motta

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ENGLISH

Talking about arts and crafts in Dar es salaam, Tanzania

Dar es Salaam, 17 August 2016 — Tanzania has a long tradition of creating imaginative and thought-provoking art. Artwork is a way that the country preserves its heritage and shares the unique qualities of the culture, history, and environment of Tanzania. Tanzanian art culture is a diverse mix of influences with over 120 tribes which includes Makonde tribal carving, Tinga Tinga paintings, and Zanzibar carved doors and many others. Art in Tanzania is also important part of the country's national identity, and in that sense it's connected to the everyday world of regular people here. See more.

ENGLISH

Talking about arts and crafts in Dar es salaam, Tanzania

Jonston Weston, Dar es Salaam Community Manager

Dar es Salaam, 17 August 2016

Tanzania has a long tradition of creating imaginative and thought-provoking art. Artwork is a way that the country preserves it's heritage and shares the unique qualities of the culture, history, and environment of Tanzania. Tanzanian art culture is a diverse mix of influences with over 120 tribes which includes Makonde tribal carving, Tinga Tinga paintings, and Zanzibar carved doors and many others. Art in Tanzania is also important part of the country's national identity, and in that sense it's connected to the everyday world of regular people here.

Art has been an integral program in many facets of the country's culture and there is a priority on developing and nurturing the artistic, musical, and design activities by local governments in Tanzania. It is based on reality that the Tanzanian schools commonly do not teach arts due to the lack of resources, including as teachers and teaching materials. Most of the artistic activities are therefore based on tribal traditions at the family level, noticing individual talents. An example includes the Makonde tribe, originally based in the South of Tanzania, which has been creating meaningful, spiritual carvings based around their tradition, family and tribal culture, and the belief system. Originally, there were carvings of masks, musical instruments, and simple figures. Commonly we now see complex carvings of figures supporting each other in a family, tribal, or ‘socialist’ structure. Also Zanzibar doors based in Stone Townare were traditionally symbols of status and wealth. Carved in a range of woods including mahogany, the intricate designs have Indian and Islamic influences and are now found more widely.

Art In Tanzania is a Non-Governmental Organization (NGO) that started in 2001 and is tasked to support local artists who do not have the resources to fully develop their talent. Over the past decade and a half, the organization has grown and now runs more than 300 volunteering and internship placements in Tanzania via the record label, Mzuka Records and a yearly magazine that targets Tanzanian youth. Art in Tanzania welcomes volunteers and interns to participate in community projects and also organizes adventure programs such as safaris and Mount Kilimanjaro climbs.

Dar Es Salaam is Tanzania’s largest and most influential city and has produced countless talented artists, especially those who paint in the style of traditional African hut paintings. This technique was made famous by Edward Saidi Tingatinga, an artist of the 1950s and 1960s who made the style popular. The very well-known hub is Nyumbaya Sanaa (Nyerere Cultural Centre). At Nyumbaya Sanaa not only can a visitor buy art, but she can also witness art being created. This unique place is also the site of a fish market in the mornings. Snacks and beverages can be purchased and enjoyed as you watch the artists at work.

Another key piece of the art landscape is Tanzania Village Museum which is a wonderful place to experience what an African village is like. Native villagers from all over Tanzania have built reconstructions or models of their own dwellings: all in one place. On weekends, tribal dances are performed. There’s also a garden and museum shop worth investigating.

Many people use these places for recreation, especially during the weekends, and they also serve as meeting points for the people. They have been a source of employment to youth and adults of Dar es Salaam. Initiatives like these keep art and artists both accessible and able to practice their invaluable skils.
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Photo: Jonston Weston

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ENGLISH

On community radio, music builds a shared space for the subaltern

Delhi, 16 August 2016 — Gurgaon, Delhi’s glitzy suburb, has been in the news lately for a gargantuan traffic jam triggered by faulty drainage and flooded roads during a heavy shower in the last week of July, unleashing a spate of fury over the city’s lack of planning and poor infrastructure. It’s not only the physical aspects like water supply, drainage and road design that was ignored, however, during Gurgaon’s exponential growth since the early ‘90s.See more.

ENGLISH

On community radio, music builds a shared space for the subaltern

Mukta Naik, Delhi Community Manager

Delhi, 16 August 2016

Gurgaon, Delhi’s glitzy suburb, has been in the news lately for a gargantuan traffic jam triggered by faulty drainage and flooded roads during a heavy shower in the last week of July, unleashing a spate of fury over the city’s lack of planning and poor infrastructure. It’s not only the physical aspects like water supply, drainage and road design that was ignored, however, during Gurgaon’s exponential growth since the early ‘90s. There has been equally little attention paid to the social dynamics between the city’s diverse inhabitants: the villagers whose fields turned into a concrete jungle, the well-heeled and educated professionals who moved here to work in one of Gurgaon’s many Fortune 500 companies, and the illiterate rural migrants who comprise the city’s unorganised workforce. Despite their interdependence, these groups live in rather separate worlds in this city. Not enough thought is being given to what would happen when these worlds met.

In 2009, while the world was fooled by the upward mobility that financial investments had brought in, revelling in markers like shopping malls and private cars, the enthusiastic team of a newly launched community radio station in Gurgaon, brainstormed intensely on issues around identity. For Gurgaon ki Awaaz (GkA), the question ‘Who is the community?’ was central to positioning and propagating their work. And so, they took the bold decision of targeting only non-English speakers, both locals and migrants through their programming.

The mainstay of a radio channel is music and the pursuit of original music that would engage their target communities became an all-consuming roller coaster ride. Reminisces GkA founder Arti Jaiman, “Through word of mouth, we gathered inroads into the world of mandalis (troupes) that performed the ragini, a folk form popular in Haryana. Our team travelled to Kota Khandelwala, a small town that hosts a famous ragini competition annually to record music. We discovered a whole thriving world of music that we were barely aware of, a world patronised by local elites where the tradition of storytelling through folk music was still very much alive.”

Slowly but surely, as the sounds hit the airwaves, not just artists from Haryana but also those performing in other languages and dialects began to approach GkA for a chance to be on air. “We faced some backlash from Haryanvi listeners the first time we played Bhojpuri music,” Arti shares, “but we were determined to be as inclusive as possible.” Patiently telling each irate caller to bear with the channel and give a chance to something new because “the city belongs to everyone who lives here”, the channel’s young team realised that music could be used effectively to break ice, start conversations and sensitize communities about each others’ perspectives. Tweaking the programming and content to include explanations of the meanings of songs played in various dialects, for instance, made it possible for listeners from different parts of India to recognise common themes in each other’s music. Regardless of language and style, the troupes were singing songs of love, of longing and separation, of devotion, songs that accompanied the seasons and related to festivals; common themes were a subtle reminder of the underlying human bonds across Gurgaon’s fractured communities. For locals and migrants, whose interactions with each other as landlords and tenants are not characterized by much bonhomie, this community radio channel became a shared space where subaltern voices and cultures could be given free expression.

Even as the hard work since 2009 is starting to pay off, with listeners more empathetic and open-minded than before, GkA is constantly pushing the boundaries. Encouraging newer troupes that break away from purist forms and incorporate electronic sounds in their raginis is an example of how the channel strived to be “constantly disruptive”. Music was the low hanging fruit, opening the door to new mediums of expression like storytelling and poetry. “People are always looking for themselves in you,” Arti says, and this is what Gurgaon ki Awaz has enabled them to do through music and words.

You can hear Gurgaon ki Awaaz on 107.8FM in Gurgaon or online through live streaming.
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Photo credit: Sukanto Debnath

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BAHASA INDONESIA

ENGLISH

Punk - Antara Musik, Seni dan Aktivisme

Jakarta, 15 August 2016 — Kelompok punk kerap dianggap aneh dalam masyarakat Indonesia. Dengan model rambut mohawk, celana jeans belel, bertato, dan beragam aksesoris yang dipakai membuat kelompok minoritas punk ini menjadi sasaran ocehan dan mendapat cap buruk di mata masyarakat. Namun kelompok musik punk Taring Babi di Jakarta menunjukkan hal sebaliknya dan bahkan berperan lebih dalam komunitas mereka tinggal. Baca lebih lanjut.

BAHASA INDONESIA

ENGLISH

Punk - Antara Musik, Seni dan Aktivisme

Widya Anggraini, Jakarta Community Manager

Jakarta, 15 August 2016

Musik punk dalam sejarah munculnya sebagai media untuk menyampaikan fenomena sosial politik tertentu, penyimpangan kekuasaan pemerintah dan kesewenangan para pengambil kebijakan. Oleh karena itu kerap dianggap berbahaya karena kekritisan mereka. Di Indonesia, musik punk memiliki penggemarnya sendiri. Dikarenakan sifat musik ini yang cenderung keras dengan penampilan yang berbeda seperti potongan rambut mohawk, berwarna-warnai, sepatu boots, celana jeans ketat dan baju yang lusuh, kelompok punk sering disalah artikan oleh masyarakat dan dianggap berbahaya. Namun demikian, kelompok music punk Taring Babi menunjukkan hal yang sebaliknya dari anggapan masyarakat dan dengan musik mereka melakukan perlawanan anak muda dan mandiri secara ekonomi. Mereka terlibat aktif dalam berbagai aktivitas merebut ruang publik di Jakarta berkolaborasi dengan kelompok punk jalanan lainnya.

Kelompok Taring Babi terbentuk pada 22 Desember 1997 dengan Marjinal sebagai nama musik mereka. Marjinal dipilih sebagai nama karena lagu yang mereka dendangkan banyak bercerita tentang derita dan kehidupan masyarakat yang terpinggirkan. Pada awalnya masyarakat banyak bersikap curiga karena penampilan yang berbeda, namun kelompok ini tetap tersenyum dan bahkan membaur dengan masyarakat sekitar dalam kegiatan kampung seperti kerja bakti. Mereka juga sangat mandiri dalam hal ekonomi dengan pendapatan yang berasal dari mengamen, desain poster, sablon kaos, membuat tattoo, pertunjukan musik.

Menurut Taring Babi, kesenjangan sosial yang terjadi di masyarakat kota terjadi karena sistem ekonomi yang kapitalis dan mengeksplotasi kelas bawah. Untuk itu melalui lirik-lirik mereka selalu berkaitan dengan upaya membawa perubahan di masyarakat. Kesenian lewat lagu dipercaya akan efektif dalam membangun kesadaran masyarakat terhadap ketidakadilan sosial yang menimpa kelompok miskin di daerah perkotaan. Taring babi dianggap mampu menyatukan antara kegiatan music, seni dan aktivisme. Rumah mereka telah diubah menjadi tempat bertemunya para anak punk jalanan yang saling bertukar pikiran.

Kelompok Taring Babi kerap melakukan kolaborasi musik dalam pameran seperti yang pernah mereka lakukan pada pagelaran bertajuk Ibu Bumi sebagai rangkaian dari gelar kesenian yang bertepatan dengan Konferensi Perubahan Iklim. Lagu-lagu yang mereka nyanyikan banyak berhubungan dengan pentingnya menjalin hubungan yang harmonis antara lingkungan, manusia dan Tuhan. Taring Babi juga selalu menyampaikan protesnya dalam lagu-lagu bertema sosial. Dengan musiknya mereka menyuarakan kepada dunia mengenai system kapitalis yang mengutamakan ketamakan dan menghancurkan kemanusiaan.

Pemerintah DKI Jakarta juga kerap memanggil kelompok Taring Babi untuk berdiskusi dalam rangka memberi masukan mengenai kehidupan kelompok punk di Jakarta dan jenis pelayanan sosial seperti apa yang dibutuhkan oleh kelompok ini. Taring Babi juga aktif melakukan advokasi ke Dinas Sosial yang dianggap semena-mena ketika menangkap kawan mereka di jalanan karena dianggap meresahkan. Bentuk protes juga menjadi bagian dari aktivitas Taring babi yang dilakukan dengan berkolaborasi bersama kelompok lain untuk merebut ruang publik di Jakarta termasuk ruang-ruang yang bisa dilakukan untuk melakukan aktivitas berkesenian bersama.

Kegitan seni dan musik Taring Babi dalam konteks perkotaan cukup menarik. Mereka mampu menyuarakan fenomena kesenjangan sosial dan ekonomi, berkolaborasi dalam aksi merebut ruang publik, bertemu pemerintah sebagai bentuk partisipasi dalam pengambilan keputusan dan kemandirian secara ekonomi. Pemerintah disatu sisi mulai mengakui keberadaan kelompok punk sebagai stakeholder kota dan berusaha mengakomodasi kebutuhan mereka namun disisi lain stigma buruk yang masih melekat menyebabkan kelompok ini masih cenderung mengalami diskriminasi pelayanan dan kekerasan verbal dari publik.
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Photo credit: Ayo Gembira Bersama‏

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PORTUGUÊS

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Prefeitura amplia apoio para projetos de inclusão social por meio da tecnologia

São Paulo, 12 agosto 2016 — Com o Programa Redes e Ruas, prefeitura apoia ações para inclusão social com uso de ferramentas digitais em praças, ruas e centros culturais. Nas atividades do Ponto de Cultura é de Lei, uma das 59 ONGs que receberam apoio financeiro na primeira edição do programa, ano passado, fosse um morador de rua no centro ou uma criança na periferia, todos eram convidados para produzir e compartilhar fotografias e vídeos. Este ano, a prefeitura recebeu 235 propostas que articulam cidadania e tecnologia de ponta em toda a cidade. Leia mais.

PORTUGUÊS

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Prefeitura amplia apoio para projetos de inclusão social por meio da tecnologia

Felipe Villela, Coordenador da Rede em São Paulo

São Paulo, 12 agosto 2016

São Paulo já foi descrita como a “cidade de muros”, “o avesso do avesso do avesso do avesso” . Mesmo assim, nos últimos anos as pessoas voltaram a se reunir em ruas e praças. A prefeitura tenta contribuir com esta transformação oferecendo wifi grátis em espaços públicos, transformando vagas de estacionamento em pequenas praças (os parklets), carros em algumas ruas aos domingos. Mas como encher estes lugares com todo tipo de gente? A estratégia da prefeitura foi apoiar projetos de ONGs para inclusão social por meio da tecnologia, como faz o Programa Redes e Ruas.

“Queremos integrar gente de diferentes origens e com diferentes vulnerabilidades”, explica Priscilla Oliveira, participante do Ponto de Cultura É de Lei. Em 2014, o projeto “Sobrecidades – imagens em trânsito” R$70 mil da prefeitura para realizar oficinas no centro da cidade, onde fica a sede da ONG, e no M’Boi Mirim, Zona Sul.

A ponte entre estes diferentes territórios era feita de fotografias e vídeos. Mensalmente, imagens produzidas pelos participantes no centro eram levadas para a periferia, e vice-versa. Seja no Largo do Paissandú ou a 21 km dali, no Largo da Piraporinha, a ideia era fazer as pessoas ficarem à vontade no espaço público da forma como são, seja com uma questão de saúde mental ou dificuldade de renda. O É de Lei costuma promover ações na interseção entre arte, cultura e redução de danos no uso de drogas entre usuários da rede de saúde mental.

A primeira edição do Redes e Ruas apoiou 1075 atividades em todas as regiões da cidade. Os 142 projetos inscritos, dos quais apenas 59 foram selecionados, eram classificados em três categorias, conforme o tipo de proponente, pessoa física ou jurídica, e a quantidade de territórios aonde faria intervenções.

Em comum, todas as propostas envolveram o aproveitamento de espaços e equipamentos públicos e o uso de tecnologia digital. Para Marizabel de Mello, diretora do Núcleo de Fomentos da Secretaria Municipal de Cultura, o Redes e Ruas conseguiu melhorar a interação entre as três secretarias responsáveis – Cultura, Direitos Humanos e Cidadania,e Serviços, e fortalecer o diálogo com a sociedade. A ideia do programa veio dos encontros “Existe Diálogo em SP”, que conectou fazedores de cultura digital com técnicos do governo.

A segunda edição do Redes e Ruas, no início deste ano, reforçou o foco na produção digital criativa. 235 projetos foram inscritos em quatro categorias: robótica e internet das coisas, midiativismo, intervenção cultural e formação em ferramentas digitais.
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ENGLISH

The Talking Walls: Strengthening community cohesion

Nairobi, 11 August 2016 — Street art has been used globally for creating public socio-political spaces of engagement. However, in Kenya, street art has, overtime, been seen as a tool of rebellion and vandalism. In Nairobi city, in particular, the concerned officials have come out to fight it, calling for youth to be given space to express themselves and earn a living. Street artists in Nairobi hope to open community dialogue towards positive social transformation. See more.

ENGLISH

The Talking Walls: Strengthening community cohesion

Diana Kinya, Nairobi Community Manager

Nairobi, 11 August 2016

As the year 2007 was coming to a close and ushering in the 2008 new year, Kenya went into flames. The whole country was burning. This time, not with the usual fireworks synonymous to ushering in a new year but with flames of ethnic hate,division and violence. The fire and destruction was quickly bringing down investments, people and towns. Tribes were fighting against each other, as it was believed that political patronage was based on ethnic affiliation. What had just began as a protest for a stolen election had turned into deadly ethnic-based violence.Cosmopolitan urban areaswere hit the most, especially Nairobi, Mombasa, Nakuru, Eldoret and Kisumu.

The impact of the violence was mainly centered and felt in the informal settlements. This was attributed to the large number of unemployed youth residing in informal settlements that presented available goons for hire to cause violence. Although peace was restored after the signing of the peace accord in 2008, it has since remained an “uneasy” peace that is easily provoked by small incidences. Since this period, tribal coexistence in the country has been affected as well human settlement patterns, with people tending to settle where their tribes are “accepted.”

Gearing towards the 2013 elections, Kenyans were doing alot to stop a repeat of what had happened in 2008. This included massive migration of populations from the cities to their rural homes.One unique response to this uneasiness was the emergence of the street art revolution, a leading force that is transforming the social-political environment in the city of Nairobi. The movement is being driven by individuals, organizations and local graffiti artists mainly drawn from informal settlements painting powerful social justice messages on Nairobi’s streets, commuter trains and buses. This is done as a means for awareness raising and shaping public attitude towards peaceful coexistence and mutual respects for human rights.Organizations like Sauti Ya Mtaa (SYM) and Hope Raisers Initiative (HRI) work in the poor settlements of Korogocho, Kariobangi, Kibera and Mathare to actively engage the youthin the use of “data murals” and graffiti to aesthetically transform the streets through messages of hope and peace. This kind of art is not only enabling the youth to pass information to the communities regarding issues pertinent to their lives but also enables them to engage in creating change through self expression.

Another initiative includes the kibera walls for peace being driven by Kibera Hamlets.The program draws together youth of different ethnic and religious communities to participate in peace building and public art workshops,including drawing public muralsand developing performing art to promote peace.They use a mixture of imagery, text and performances covering “tribalism,” corruption, unity, peace and reconciliation. The involvement of young Nairobians, particularly those from slum communities in this, is also teaching them how to express themselves through art rather than anti-social acts of violence.

Although street art in Kenya has previously been viewed as vandalism and a symbol of rebellion, this is slowly changing and its being embraced and appreciated as not only a tool for education and shaping public opinion but also as a way to give positive identity to spaces and make “dead” spaces more public and engaging.Close.

Photo: Joe Artista

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ESPAÑOL

ENGLISH

Estación Arte Viva de la Sabana: usando el arte como motor de transformación social

Bogotá, 10 agosto 2016 — Una estación de tren dilapidada en pleno centro de Bogotá ha sido parcialmente restaurada con el objetivo de convertirla en un espacio destinado a la creación y las representaciones artísticas. Una escuela de circo ha sido la primera iniciativa en un Proyecto que busca utilizar el arte y la creatividad como motor de recuperación de un barrio sumamente deteriorado. Leer más.

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Estación Arte Viva de la Sabana: usando el arte como motor de transformación social

Jorge Bela, Gestor Comunitario de Bogotá

Bogotá, 10 agosto 2016

La Estación de la Sabana está ubicada en una zona muy deteriorada del centro de Bogotá, próxima al Bronx, uno de los barrios más problemáticos de la capital. Fue inaugurada en 1917, y sirvió como el principal centro de transporte de la ciudad durante décadas, aunque en la segunda mitad del siglo XX comenzó su decadencia, que concluyó con el cese de las operaciones de la compañía Ferrocarril de la Sabana en 1991. A partir de entonces el deterioro del edificio se convirtió en todo un símbolo del deterioro del centro de Bogotá. Hasta hace poco tiempo, en el vetusto edificio tan solo funcionaban unas instalaciones de la Policía de Tránsito y de Transportes , mientras que un pequeño sector seguía dedicado al transporte ferroviario, aunque ahora limitado a los servicios turísticos.

En el año 2013, la Escuela Taller de Bogotá se hizo cargo de unos edificios anexos a la estación, y acometió un cuidadoso proyecto de rehabilitación . Este fue el primer paso en un proceso que busca convertir a la vieja estación en un centro de arte que sirva como motor para la transformación de la zona en la que se encuentra. Este proyecto se conoce como Estación Arte Viva de la Sabana.

En el año 2014 la Escuela Nacional Circo Para Todos (ENCP) se sumó a la iniciativa, creando su segunda sede –la primera está en Cali—y levantando una gran carpa blanca en la que celebrar los espectáculos. La ENCP nació en Cali hace en 1995, y desde entonces más de 5000 jóvenes en riesgo de exclusión social. La ENCP ha servido como modelo para otras iniciativas similares en varios continentes.

Además de la Escuela Taller de Bogotá, la Estación Arte Viva de la Sabana cuenta con el apoyo del Ministerio de Cultura y el Teatro Colón, el más importante de Bogotá. También se ha dejado abierta la puerta a colaboraciones con otras entidades públicas y privadas. En el año 2015, por ejemplo, se desarrolló conjuntamente con el Instituto de Bienestar Familiar, el proyecto Circo Para Soñar , mediante la cual 450 niños y adolescentes de zonas vulnerables de Bogotá asistieron a representaciones de tipo circense en las que se les fomentaban valores como la disciplina y el cuidado del cuerpo, mientras se les informaban sobre sus derechos fundamentales, y como defenderlos. Las representaciones tuvieron lugar en los propios barrios, todos ellos cercanos a la estación.

Otro ejemplo de colaboración es la celebración del seminario International Development Design Summit (IDDS). Este evento, que reúne expertos y universitarios de diversos países, permite que los participantes convivan por más de dos semanas, en las instalaciones de la Escuela Taller, con miembros de las comunidades locales. La idea es la transmisión de conocimiento que permita afrontar los retos a los que se enfrentan. El próximo de estos seminarios se celebrará, bajos los auspicios del PNUD, del 19 de junio al 2 de julio del 2017. Estará centrado en los problemas asociados con el cambio climático.

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Foto: Escuela Taller de Bogotá

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