Revolution, Graffiti and Copyright: The Cases of Egypt and Tunisia
Date
2015-12-15
Authors
Rizk, Nagla
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Abstract
During and after the Arab uprisings in 2011, there was an outburst of creative production in Egypt and Tunisia, serving as a means to counter
state-controlled media and to document alternative narratives of the revolutions. One of the most prominent modes of creative output was
graffiti. Within an access to knowledge (A2K) framework that views graffiti as an important knowledge good, this article outlines the author’s findings
from research into perspectives towards revolutionary graffiti held by graffiti artists and graffiti consumers in Egypt and Tunisia. The main
quest of this work is to identify a copyright regime best suited to the priorities of both the revolutionary graffiti artists and the consumers
of this art, cognisant also of the possibilities offered by increasingly widespread use of, and access to, online digital platforms. The research
looked at how artists and consumers relate to the revolutionary graffiti, how they feel about its commercialisation, and how they feel about
the idea of protecting it with copyright. Based on the research findings, the author concludes that an A2K-enabling approach to preservation
and dissemination of the revolutionary graffiti – and an approach that would best cater to the needs of both the artists and the consumers – is
provided by the Creative Commons (CC) suite of flexible copyright licences.
Description
Keywords
graffiti, Egypt, Tunisia, revolutionary art, public goods, access to knowledge (A2K), copyright, intellectual property, Creative Commons
Citation
Rizk, N. (2015). Revolution, graffiti and copyright: The cases of Egypt and Tunisia. The African Journal of Information and Communication (AJIC), 16, 48-59. https://doi.org/10.23962/10539/19314