Visiting African American murals: a content analysis of Los Angeles, California

Molina, María de Miguel; Molina, Blanca de Miguel; Campos, Virginia Santamarina

doi:10.1080/14766825.2019.1597877

Cited by 13 publications

(17 citation statements)

References 32 publications

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“…Through murals, people can see history in a more popular setting and young people and children can experience new ways to visit a city and study different disciplines [16]. Can we call these kinds of political murals 'dark mural attractions'?…”

Section: Discussionmentioning

confidence: 99%

“…However, for Shaw [54], the instrumentalisation of world heritage does not always consider the complex costs that are added when the past is accessed. One of the challenges in this area is to help the general public to understand the mural so they identify with its message [16,56].…”

Section: Discussionmentioning

confidence: 99%

“…In this case, the mural has high political influence: Education, history, authenticity, a short time scale since the event occurred and high ideological significance on the darkest side [37,58]. Yet a historical viewpoint is necessary to give value to visitors [12,16,27]. Accordingly, local guides could join the event to provide more narrative [59].…”

Section: Conclusion and Limitationsmentioning

confidence: 99%

“…However, in our opinion, even though they all use the street as their natural environment and means of interpretation, muralism can differ in its legal basis and permanent condition, although even these two 'reverse characteristics' have varied over the last few years in locations where the artworks of recognised artists are preserved and encouraged. In any case, the general public needs to understand the mural to identify with its message [16]. Murals are open museums [17] where people can see history in a more popular setting and young people and children experience new ways to visit a city and study different disciplines [16].…”

Section: Introductionmentioning

confidence: 99%

“…In any case, the general public needs to understand the mural to identify with its message [16]. Murals are open museums [17] where people can see history in a more popular setting and young people and children experience new ways to visit a city and study different disciplines [16]. Moreover, they have enabled international artists to reach the general public on a personal level [18] but also for commercial purposes [19].…”

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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Section: Discussionmentioning

confidence: 99%