The path is place: skateboarding, graffiti and performances of place

Ong, Adelina

doi:10.1080/13569783.2016.1155407

Cited by 9 publications

(6 citation statements)

References 10 publications

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“…Eventually, the municipality agreed to the campaigners' terms and Cult as a skatespot was saved. In comparison to the Long Live Southbank campaign in London to save the world's longest continually skated spot (Borden, 2016;Ong, 2016;Madgin, Webb, Ruiz, and Snelson, 2018), Free Cult was limited in terms of size, duration, and exposure. Nevertheless, the municipality was remarkably receptive and understanding-and decided to acknowledge Cult as a legal skatepark on December 11, 2011.…”

Section: Free Cultmentioning

confidence: 99%

Skateboarding in Seoul: A Sensory Ethnography

Hölsgens¹

2021

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As skaters increasingly engage with and respond to socio-political surges across the globe, skateboarding begins to refract into a multiplicity of situated practices. This includes a new wave of collectives and communities who re-imagine what cities could sound, feel, and be like. Combining filmmaking with ethnographic writing, Sander Hölsgens traces the lived experience of a small group of skaters in South Korea. As a skater among skaters, he unravels the site-specific nuances and relational meanings of skateboarding in Seoul – working towards an intimate portrait of a growing community.

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Section: Free Cultmentioning

confidence: 99%

Skateboarding in Seoul: A Sensory Ethnography

Hölsgens¹

2021

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“…Skateboarding, as commonly practiced and conceived, appears to defy “rule governance” of sport and is perceived as a subculture lifestyle involved in symbolic and embodied performances to subvert mainstream rules and norms, what has recently been called “ la perruque ,” “a tactic that ‘finds ways of using the constraining order of the place’ for one’s purpose” (Ong, 2016). Because of this subculture lifestyle, the practice of skateboarding involves, as Belinda Wheaton describes, “bodily expression and performance to subvert—at least symbolically—this mainstream discipline and control” (Wheaton, 2007, p. 288).…”

Section: Skateboarding As Subversionmentioning

confidence: 99%

Skateboarding and the Ecology of Urban Space

Glenney

Mull

2018

Journal of Sport and Social Issues

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Skateboarding poses a unique case study for considering the place of sport in human activity. The bulk of skateboarding scholarship argues that skateboarding is largely a subversion of rule governance, a view difficult to square with common and popular rule-governed skateboarding competitions, now including the Olympics. We attempt to resolve this tension by arguing for a kind of pluralism: skateboarding’s engagement in rule-governed competition is distinctly subversive, yielding the claim that skateboarding is both sport and subversion. This pluralism is examined in an “ecological” framework of emergent activities defined by push-pull interactive relationships between skateboarders and their environment that change the meaning of their spaces—whether domestic, urban, or competitive—to spaces that are both wild and spontaneous. We conclude with reflections on how skateboarding provides understanding of sport in the space of ecological meaning.

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“…Any work in public space that has not been authorized (regardless of its artistic appeal) is regarded as graffiti and perpetrators will be prosecuted. Street art on the other hand refers to ‘legally commissioned work done on the street or work sold in galleries by graffiti artists’ (Ong, : 233), a trend that Singapore is encouraging today. This distinction will be used throughout the article in the Singapore context; the only exception is when the terms are used interchangeably by specific authors in non‐Singapore settings.…”

Section: Graffiti Street Art and Legal Wallsmentioning

confidence: 99%

“…The first was Samantha Lo's arrest in 2012 and the public uproar over her criminalization. Arising from debates on the need to differentiate between graffiti and art, the commuting of Lo's act from vandalism to mischief brought a measure of public relief and awareness that the government was prepared to accept alternative forms of public art (Ong, ). A second piece of evidence is the fact that Mohammed Zulkarnaen Othman, founder of art collective RSCLS (which specializes in street art) was awarded the NAC Young Artist Award in 2013.…”

Section: State Perspectives On Street Art: Creativity (Un)leashed?mentioning

confidence: 99%

Writing on the Wall: Street Art in Graffiti‐free Singapore

Chang¹

2018

Int J Urban Regional Res

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The legalization of graffiti in many cities has impacted urban landscapes and the way artists and the public view graffiti, street art and the city as well. This article considers the genesis, process and consequences of legal walls programmes firstly by introducing and differentiating the key terms ‘graffiti’, ‘street art’ and ‘legal walls’, then by examining an empirical case, that of Singapore. Renowned as a graffiti‐averse and litter‐free city, Singapore's recent about‐turn in legalizing illicit art forms illustrates changing government perspectives on creativity and legality in the country. Why the government has effected this change, how artists and members of the public have responded to it and the resultant art forms are critically explored. The conclusion reflects on four key lessons from Singapore for cities in general.

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The path is place: skateboarding, graffiti and performances of place

Cited by 9 publications

References 10 publications

Skateboarding in Seoul: A Sensory Ethnography

Skateboarding in Seoul: A Sensory Ethnography

Skateboarding and the Ecology of Urban Space

Writing on the Wall: Street Art in Graffiti‐free Singapore

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