kagablog

In June this year (2008) the Ethekwini Municipality declared a war on what it calls ‘graffiti vandalism’. Gay Ropper, Director of Graffiti Removal Services postulated that factors attracting young people to graffiti are gang association, peer recognition, lack of artistic and recreational alternatives, the element of danger, and lack of appropriate parental supervision and discipline. Roper argued that un-removed graffiti attracts more graffiti and that if graffiti is gang-related removing it right away “will show others that we don’t want gangs” Just as the municipality was embarking in a massive graffiti removal campaign, the Xenophobic attacks escalated throughout South Africa. Durban graffiti artists responded to the call promptly, collaborating with other visual artists in creating an anti-xenophobia mural near the Durban Station, declaring: Phansi ngoku cwasana e Afrika: Africa Unite. Several anti-xenophobic graffiti work appeared on the walls around the city and in the townships. This response of graffiti artists to incidents of Xenophobic violence is enough to articulate the fact that it was simplistic and ignorant of Ropper and the Ethekwini Municipality to dismiss all graffiti artists as bored, uncreative idlers and\or gangsters, and to equate graffiti with mere vandalism. Poet, essayist, social critic, Black Consciousness activist and Creative Director of Ditiro Productions, Mphutlane wa Bofelo had a chat with the prolific and renowned Durban Mc, Slam poet, actor and graffiti artist, IAIN Gregory Robinson, better known as Ewok or Creamy Ewok Baggends, who had the honour being offered a wall for his graffiti at the exhibition of the KZNSA Arts Gallery earlier this year.

Mphutlane: Hello, how are you?

Ewok: Very well thank you. I am Strong, Healthy, Motivated and Inspired.

Mphutlane: Who is Ian Gregory Robinson? Who is Creamy Ewok Baggend? How are the two related?

Ewok: Correct spelling is IAIN Gregory Robinson. That is me, my birth name. Iain was my grandfather’s name. Creamy Ewok BAGGENDS is also me, my nickname. Creamy Ewok was a name given to me in early high school. I added the Baggends the year I started recording my raps. The two are related in body, mind and soul. I discovered that a Binary Star is two stars revolving around each other that look like one star from a distance. That is like my two names. Two names revolving around each other. These days people call me Iain Ewok Robinson.

Mphutlane: Where and when where you born? Where did you grow up and what was it like?

Ewok: I was born in the Eastern Cape. I have lived there, and in KZN, and in New York State (USA). I grew up in Empangeni and Durban (from age 2 to 5, and then back I was raised by two very loving and caring parents, alongside a beautiful and older sister, all of whom value education highly.

I have the privilege of still having both parents alive and with me, the same with my sister. We are a very tight family unit. My childhood memories range from good and bad, first experiences and lasting impressions, influences both negative and positive, illegal activity and community work, teaching and learning, fighting and playing, talking and listening, crying and laughing…etc.,etc.

Mphutlane: When and how did you get involved in graffiti?

Ewok: I started painting in early high school- standard 7(Grade 9). I was very attracted to Graffiti as an art form for a number of reasons. Mainly because I thought it was cool. Then I met a graffiti artist (we used to skateboard together) who showed me the ropes and also introduced me to HipHop music. My pursuit of Graffiti drew me further into the knowledge of HipHop culture and eventually the two passions became one.

Mphutlane: What is your own working definition of graffiti, and in your view what makes graffiti an art-form?

Ewok: The graffiti that I know and love is simply large scale painting with aerosol cans. It deals with style and flow and pressure and expression, just like all of the other elements of HipHop. It is the graphic representation of HipHop inspired self-expression. It takes the simplicity of words and letters and translates them into a visual style of art, it captures, enhances and characterizes human nature and expressions, it provides a new language for communicating across cultures. The art of graffiti is in this communication. Any art should attempt to speak to the listener or spectator who has chosen to witness that art. I perceive a responsibility, in art, to connect with those who observe it, whatever its form. I believe Graffiti recognizes and fulfills this responsibility.

Mphutlane: How does being a graffiti artist impact on your life?

Ewok: It allows me another avenue of expression and communication. I am able to use it to focus on and facilitate my own personal process of artistic progression and growth. Through Graffiti I am able to discover the existence of methods behind a variety of different art forms that share similar approaches. It helps me to understand the artistic endeavors and approaches of others and then to use this knowledge to further develop my own methods and techniques. Essentially, Graffiti has both introduced me to and kept me engaged with the world of visual art, in practice and in theory.

Mphutlane: What do you consider to be the function of graffiti art in society?

Ewok: The origins of graffiti represent an era, a period in human history, just like all of the historically recognised art movements that are studied in various education systems. It is unique in its stylistic and conceptual location “in the streets”. It provides society with another milestone from which to chart social evolution and human development over time. It has an attitude and approach that gives relevance to a previously disenfranchised section of the global youth, giving youth another artistic outlet to express themselves, an outlet that they can claim as their own, devoid from any supreme authority or system of control.

Mphutlane: In your view what is the difference between graffiti and vandalism?

Ewok: Vandalism is a malicious criminal act of destruction. Graffiti is an art form.

Mphutlane: What separates graffiti artists from people who scribble on walls out of boredom?

Ewok: The boredom is an end in itself. Graffiti has purpose. Graffiti artists value time. People who scribble on walls are looking to kill time. Remember however that one person’s scribble may be other person’s Mona Lisa.

Mphutlane: Can you tell us about graffiti as part of the elements of hip hop and explain the relationship between these elements to us?

Ewok: Graffiti was born at the same time in the same place as HipHop (Bronx, New York, late seventies and early eighties). It evolved alongside the other three elements. The four elements of HipHop provide four avenues of expression for any individual. Breakdancing is a physical athletic expression, DJaying is a technical musical expression, MCing (rapping) is a performing musical and lyrical expression, and Graffiti is the visual artistic expression. Through these four approaches HipHop was established and continues to evolve. The overall guiding principles of HipHop are self knowledge and self expression leading to a strong individual existence, in order to benefit community and society.

Mphutlane: In your case, what came first, emceeing or graffiti and how did the marriage between the two happen in your life?

Ewok: Graffiti came first. MCing second. There is no marriage between the two. They exist separately but influence each other in the same way any two art forms existing so closely would. Both help me to keep connected to HipHop culture and committed to its continued growth and progression, as to my own.

Mphutlane: What is the day in the life of a graffiti artist like?

Ewok: Much like any other professional career day I imagine. When I was painting illegally then the days involved a lot more anxiety and tension, living and working with the knowledge that you were constantly committing a crime. But you get used to it. These days I enjoy the freedom of a freelance artistic career. Now that I am strictly a legal artist I can relax with my work.

Mphutlane: Can you say something about the thematic and stylistic concerns of your graffiti work?

The majority of my work deals with characters, which are basically characterisations of various objects, animals, humans or imaginary creatures. I always try to stay true to my roots and early influences so there is a constant HipHop element to all of my work, whether it is in the clothing of my characters or their poses or their actions. Specific walls have specific concepts so my work shifts according to what is required. I have never been as strong with my lettering as I have with my characters so my letter work is always in a state of metamorphosis, many of my pieces will look completely different but all have similar influences and application of technique.

I am always tempted to try and make them look 3dimensional in some way as I love 3d work. I also attempt wild style (that is the exactly what it is, a style that goes wild) but have never properly cracked it. I would consider the majority of my sketchbook work to be abstract, freestyle, whatever comes from the pen type of thing.

Mphutlane: Can you say something about the politics and economics of graffiti art?

Ewok: Graffiti politics is often very juvenile and unfounded, dealing mainly with ego and territory, but never (I think) justified. It can get very serious, very physical. I like to paint alone these days to save myself the drama of having to deal with other people’s issues with other people. For me Graffiti has always been about breaking boundaries, about expression, so anyone, including other graffiti writers who are trying to suppress or oppose these goals isn’t worth my time. Graffiti economics: cans are expensive, lots of people steal equipment, paint is generally highly priced but then again professional artists can be paid very well so it all balances out if it is taken seriously.

Mphutlane: Can you say something about graffiti and the freedom expression versus the right to privacy? What about property rights?

Ewok: Everyone has the right to freely express themselves but that should never happen at the expense of another. Expression should never become oppression. No one should ever enjoy their rights by infringing on the rights of another. Damaging private property means you win and they lose so if they turn around and play the same game and you suddenly find yourself the loser, don’t complain. With freedom comes responsibility.

Mphutlane: What would your response be to the charge that graffiti art encroach on the space and property of others?

Ewok: Vandalism encroaches. Graffiti art adds value. No one can deny that when graffiti art is created at a certain level and with certain professionalism it does nothing but enhance an aesthetic appreciation of a given space. At the same time, vandalism destroys this aesthetic, but only to the non-graffiti writer. The majority of graffiti is done for the appreciation of other writers, not the general public. If this sounds elitist and selfish, that’s because it is. There is no argument here. Some graffiti art is beautiful and adds value; some graffiti art is ugly and detracts value. In both ways it is highly effective and valuable to a study of contemporary society. But that is a conversation for another time.

Mphutlane: Is the legal, social, political, cultural and economic environment conducive for the growth of graffiti or are there impediments and obstacles?

Ewok: Without being rude, no offence intended, but this question is kind of obvious. Like any art form Graffiti exists both outside of such an environment as well as inside such an environment. It has the ability to distance itself and look in and comment as well as to fully engage and deliver commentary from the inside out. There will always be impediments and obstacles. This is the nature of growth I think? Sorry, maybe I’m just being lazy but I’m trying to give as full an accounting of myself as possible!

Mphutlane: Is there a room for making a living out of graffiti art? How do you do this without sacrificing your thematic and stylistic content?

Ewok: Yes, plenty of room; like any other professional artist. Think of graffiti the way you think of sculpture, of oil painting, of wood carving, of wood burning, of pastel drawings, and there is your answer. There is no sacrifice, only compromise.

Mphutlane: What about graffiti and the politics of space? And graffiti and the politics of gender?

Ewok: This is a very broad question that requires a very broad answer. However, in terms of gender, graffiti does not actively seek to exclude anyone. The nature of the art form is encased in a masculine construct; the product of a male driven society i.e. running around late at night in the dark alone is for boys, not girls. This being said, there are plenty of female artists all over the world who have not let gender bias stop them from having fun and living their passion. Society naturally makes boys rougher than girls so something like Graf writing, which is inherently rough and dirty in its illegal execution, is determined almost subconsciously to be a male form of expression. But this is just a social construct, easily and professionally and beautifully broken down by a host of ladies around the globe.

Mphutlane: What is the graffiti art scene like in South Africa? What are the relations among graffiti artists? Are there instances of beef and do people use graffiti to diss each other?

Ewok: My answer to the question on politics touches on this. The graffiti scene in South Africa is exceptionally strong in some areas and exceptionally weak in others. Most of the best work is centred on the cities. But I believe this is the case around the world. Graffiti needs the city to exist. There is something inseparable about the two. Graffiti is very much a result of urban expansion and the growth of the concrete jungle. Some Graffiti artists like each other some don’t. Some diss each other, some won’t. It’s like any other field, it has professionals, amateurs, antagonists, pacifists, politicians, and hippies… the list is as endless as it is diverse.

Mphutlane: What in your view are the challenges and threats to graffiti and graffiti artists in South Africa at the moment? Which opportunities are there?

Ewok: Death and imprisonment threaten illegal writers. An incomplete or juvenile infrastructure or understanding amongst established artist from other media and fields might be hampering the progression of legal graffiti art. But there is some serious work being done to promote it in this way, by a select group of highly experienced and professional SA writers. Graffiti is growing and gradually entrenching itself into our artistic community. It definitely isn’t going anywhere, accepted or not. It started out on its own and it can exist in the same way, but as with most movements, it actively seeks to bridge gaps and find new ground, to collaborate and expand in conjunction or combination with other forms of art and expression. Graffiti is very flexible when it comes to collaboration, as are most of the elements of HipHop. This is why it has penetrated almost all areas of society from education to entertainment. A powerful entity.

Mphutlane: Who are your favorite Graf artists in Mzansi and why?

Ewok: TOKIL, coz he keeps it real, CADE, coz he is constantly progressing, FIYA1, coz he never stopped for no one, WOS1, coz his wildstyle is clean as f++k, FAITH47, coz she is original and consistent, FALKO1, coz he is funny and smart. I like em all really, anyone putting shit up and holding it down. I don’t have to like them all personally but there art is enough to keep me inspired and motivated.

Mphutlane: Any thing you want to add?

Ewok: I appreciate the chance to get to know myself like this. Thank you. It adds to the constant progression. I apologise if I couldn’t answer it all.

Mphutlane: Thank you for talking to us

Ewok: Chatting to you. Talking can happen at a later stage possibly.