Creative City Berlin

Arandelovic, Biljana

doi:10.1007/978-3-319-73494-1_1

Cited by 3 publications

(3 citation statements)

References 38 publications

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“…Other examples have shown that a combination of an educational and economic model is possible [79]. Murals have also been used for commercial purposes [19][20][21][22], for example, for the development of marginalised areas in big cities [23,24]. With a mural art strategy, the community not only enhances its identity but also improves its economic development.…”

Section: Discussionmentioning

confidence: 99%

“…Given that these types of murals are sometimes not located in the city centre, it is essential to strengthen their promotion and add extra attractions in the surrounding areas for visitors who are interested in history. Murals have enabled the development of marginalised areas in large cities [23,24]. Cycle routes have also proved to be a successful option in promoting visits to them when they are a long way from the city centre.…”

Section: Conclusion and Limitationsmentioning

confidence: 99%

“…Examples such as Chemainus in Canada [20,21] and Camden in London [22] have proved that, with a mural art strategy, the community has not only enhanced its identity but has also improved its economic development. For example, mural festivals around the world have enabled the development of marginalised areas in big cities, such as the Festival Muro in Lisbon [23] and the Mural Festival in Berlin [24]. Yet "collaborations with artists and the creative community at an early stage of public realm development can help generate a buzz and make your place more distinctive and ultimately more successful" [25] (p. 56).…”

Section: Introductionmentioning

confidence: 99%

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Visiting Dark Murals: An Ethnographic Approach to the Sustainability of Heritage

de‐Miguel‐Molina

2020

Sustainability

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Political, war-themed and controversial murals aim to show the history of a community, making the intangible tangible, and, because these events are still recent, they stir people’s emotions. Visitors to this type of heritage have a mixture of artistic and dark interests that lead to what we call ‘dark mural attractions’. These political murals need a public strategy to be preserved, become better known and attract local economic development funds to make them sustainable. Therefore, the purpose of this paper is to analyse how communities could build a co-narrative around murals to generate a sustainable local development. To achieve this goal, an in depth study needs to be performed to establish what kind of narrative will enable political murals to attract dark visitors and examine how communities can build a sustainable co-narrative around a dark mural. As a case study, we analyse the Battle of Cable Street mural in London, located in the non-touristic borough of Tower Hamlets, by means of an ethnographic qualitative approach based on stakeholders’ opinions, among other sources. In this case, results show that dark murals have the potential to attract visitors, but they require a public strategy for the sustainability of heritage, based on a narrative of community solidarity for educational and discovery purposes.

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