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EQUENCEThis thesis has been an attempt to consider Taiwanese graffiti culture through the lens of symbolic interactionism. As such, we’ve covered a number of concepts relating to this sociological perspective, and in turn used them as a framework for understanding this culture. One of the central to concepts that we’ve considered is process. At the most basic level, this process in symbolic interactionism is defined by Blumer’s three premises: (1) Humans act toward things on the basis of the meanings that things have for them; (2) the meanings of things derive from social interaction; and (3) these meanings are dependent on, and modified by, an interpretive process of the people who interact with one another (Blumer, 1969). In other words, a process in which actions shape meanings, and meanings shape actions. In line with these ideas, this thesis has used Becker’s definition of culture as “the shared ways of a human social group [that] includes the ways of thinking, understanding, and feeling that have been gained through common experience in social groups and are passed on from one generation to another. Thus, culture reflects the social patterns of thought, emotions, and practices that arise from social interaction within a given society” (Becker, 1982).
In this understanding, culture not only functions as a resource or set of solutions to collective problems, which groups of people face, but it is also created and shaped by them in an interactive process as existing cultural solutions are adapted to emerging collective problems. As such, this understanding of culture as a means of solving collective problems, and as a process was used to explore graffiti culture in Taiwan.
First, we saw the way it emerged in New York during the 1960s primarily as a means of achieving status for marginalised inner city youth. One individual gained fame by tagging all over the city, and others seeing this, began to emulate him. Pretty soon with more and more youth doing it, new strategies to gain fame emerged driven by competition to differentiate oneself from the crowd. A process of interaction whereby individuals acted, and reacted to each other’s actions, and invented new cultural solutions to emerging problems. To this understanding we’ve also added the George Kubler’s concepts of cultural series and sequence as elaborated by John R Hall (Hall J.
R., 1990). Series allows us to look at the way people use the similar culture to solve the similar problems, whereas sequence allows us to examine the way similar culture is adapted to solve new problems. Both concepts, however, allow us to understand culture from a historical perspective; evolving over time through interaction, but as an
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unbroken chain of related solutions. In this respect, we looked at graffiti culture as it spread through space and time from New York in the 1960s to the present day in Taiwan.
Cultural series was an appropriate way to understand the way graffiti has been employed consistently to solve the collective problem of status that youth in many societies face. However, cultural sequence was a more appropriate way to understand the way graffiti culture has evolved unique features in the different locations it has sprung up.
In Taiwan, we’ve also explored graffiti culture with respect to process, series, and sequence. Through the concept of resistance, we’ve seen that despite being illegal, a lack of clear laws, and arbitrary police enforcement have mitigated against a process of escalation that has occurred elsewhere as graffiti has be constructed as a serious urban problem, and strict enforcement has acted as a challenge for young graffiti writers wanting to make a name for themselves. However, by reconsidering resistance, the interactive process has also revealed itself in the way that some Taiwanese youth resist mainstream conformity, and challenge the concept of filial piety. At the macro level, this process is described by social and economic changes in Taiwanese society that facilitate a growing individualism in some youth, who choose to express it through graffiti and in opposition to collectivist norms of Confucian society. At the micro level it’s revealed as young men develop graffiti writing identities with values and norms of behaviour that resist the power instutionalised in the relationship between themselves and their parents by Confucian culture and filial piety.
In addition to process, we have also spent time exploring graffiti as cultural series and sequence. As such we’ve looked at how Taiwanese graffiti culture is both similar to the American culture it takes its cues from, and unique due to culturally specific problems youth here encounter. With regard to cultural series, we can see that, like other graffiti writers abroad, gaining status and fame are concerns for graffiti writers here too. In this respect, graffiti writing is a cultural solution that can be employed similarly by youth in almost any society since the desires for status and fame are near universal for young people (Macdonald, 2001). However, the concept of cultural sequence has shown us the way that graffiti culture here has been inspired by that of New York and elsewhere, but has been adapted and modified in novel ways to solve culturally specific problems. As such, this thesis has considered graffiti as resistance to mainstream Confucian ideology, not as a criticism of Confucianism, but
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rather as a means of examining the junctures between traditional collectivist norms in Taiwan and rising individualism in Taiwanese youth. In this sense, Confucianism was constructed as a cultural problem in so far as it represents the cultural hegemony that is accepted by the majority of Taiwanese, but places constraints on the self-expression options of youth who are more internationalised, and individualist in orientation than the generations before them. In this way, I hope I have shown how Taiwanese graffiti, despite being an imported cultural phenomenon, remains connected to its American graffiti forbearer through ideas and practices, but has been adapted to solve unique Taiwanese cultural problems, and thus represents an example of cultural sequence.
In its more than 50 year history, graffiti culture has been many different things to many different people. As it continues to spread and evolve through interaction, the concepts of series, sequence and process and the symbolic interactive perspective in general give us valuable tools to understand the way that is will continue to have different meanings for those yet to discover graffiti culture.
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