Revolution, Graffiti and Copyright: The Cases of Egypt and Tunisia
| dc.citation.doi | https://doi.org/10.23962/10539/19314 | |
| dc.contributor.author | Rizk, Nagla | |
| dc.date.accessioned | 2016-01-18T17:01:25Z | |
| dc.date.available | 2016-01-18T17:01:25Z | |
| dc.date.issued | 2015-12-15 | |
| dc.description.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. | en_ZA |
| dc.identifier.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 | en_ZA |
| dc.identifier.issn | ISSN 2077-7213 (online version) | |
| dc.identifier.issn | ISSN 2077-7205 (print version) | |
| dc.identifier.uri | http://hdl.handle.net/10539/19314 | |
| dc.identifier.uri | https://doi.org/10.23962/10539/19314 | |
| dc.language.iso | en | en_ZA |
| dc.orcid.id | https://orcid.org/0000-0002-2126-1096 | |
| dc.subject | graffiti, Egypt, Tunisia, revolutionary art, public goods, access to knowledge (A2K), copyright, intellectual property, Creative Commons | en_ZA |
| dc.title | Revolution, Graffiti and Copyright: The Cases of Egypt and Tunisia | en_ZA |
| dc.type | Article | en_ZA |
| ddi.collmode | a public survey of consumers of art; and a series of semi-structured, in-depth interviews with artists and other stakeholders – with the two sets of fieldwork activities running in parallel in Egypt and Tunisia. A series of questions was developed to guide both the public survey and the interviews. These were grouped into three sets. The first set of questions enquired about how people, both consumers and artists, relate to revolutionary graffiti. The second set of questions addressed graffiti as a source of income for the artists and probed consumers’ willingness to pay. The third set of questions revolved around the issue of copyright: whether it was relevant to graffiti artists; what role it played in their art; and how they felt about their art being shared. This set also included questions about consumers’ views on copyright | |
| ddi.datacollector | Access to Knowledge for Development Center (A2K4D), Tunis office of the El Amouri Institute | |
| ddi.geogunit | Greater Tunis, Sfax, and Sousse;Tunisia | |
| ddi.geogunit | Cairo Egypt | |
| ddi.sampproc | The sample for the public survey consisted of 600 art consumers in Cairo. The survey was conducted at a series of venues representing some of the most important institutions in Cairo’s alternative art scene. Research was carried out at these art spaces because the population consuming art was concentrated there, allowing researchers to avoid high rates of negative responses and to survey a larger sample of art consumers in a cost-effective way The Tunisian Altogether 606 individuals were surveyed. As with the Egyptian survey, all the Tunisian survey respondents were consumers of art. | |
| ddi.timeprd | March and June 2012, with one additional interview in March 2014. |