https://doi.org/10.37955/cs.v8i3.358
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Urban art traditionally framed in
aesthetic aspects, criminalization
and vandalism, as a democratic
scope in cultural valuation
El arte urbano tradicionalmente enmarcado en aspectos
estéticos, criminalización y vandalismo, como alcance
democrático en la valoración cultural
Mayra Alexandra Mendoza Cahuana
Licenciada en Instrucción Musical. Abogada. Máster en Investigación Musical
Universidad Nacional de Chimborazo
mayra.mendoza@unach.edu.ec
https://orcid.org/0009-0009-7992-2801
Alegría Cumandá Navas Labanda
Licenciada en Ciencias de la Educación. Doctora en Gerencia Educativa
Universidad Nacional de Chimborazo
anavas@unach.edu.ec
https://orcid.org/0000-0002-7818-4845
Byron Leonardo Obregón Vite
Licenciado en Ciencias de la Educación Artes Aplicadas Magister en Docencia Intervención
Psicopedagógica
Universidad Nacional de Chimborazo
bobregon@unach.edu.ec, https://orcid.org/0009-0007-7478-9509
Robert Danilo Orozco Poma
Licenciado en Ciencias de la Educación mención Bellas Artes. Magister en Antropología
Visual.
Universidad Nacional de Chimborazo. Grupo de investigación: ETZA KURI"
robert.orozco@unach.edu.ec
https://orcid.org/0000-0003-2262-5741
ABSTRACT
Urban art, traditionally associated with aesthetic aspects,
criminalization, and vandalism, has evolved into a form of democratic
and cultural expression. Manifested in murals, graffiti, and other
Centro Sur Vol. 8 No. 3- July– September - Revista Centro Sur - eISSN: 2600-5743
107
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
visual forms, this art reflects the creativity that flourishes in urban
environments and communities. This article analyzes the
transformation of urban art, traditionally framed within
criminalization and vandalism, towards recognition as a cultural and
democratic manifestation. The methodology used is a bibliographic
study with a qualitative approach. The main results indicate a
paradigm shift: urban art has moved from being stigmatized to being
recognized as a legitimate form of artistic and cultural expression with
significant democratic implications. This change is due to a greater
understanding of its potential as a tool for empowerment, social
critique, and citizen participation. As a main conclusion, it is explained
that urban art has evolved from being seen as mere vandalism to being
valued as a democratic cultural manifestation. It allows various social
groups to express themselves and participate in the construction of
urban narratives. This form of artistic expression seeks beauty and
social critique, contributing to the aesthetic enrichment of cities.
Urban art, rooted in the emotions, thoughts, and experiences of its
creators, provides a reflection of cultural and social diversity. Despite
the stigmatization and criminalization, its aesthetic influence and
capacity to democratize culture make it a relevant cultural
phenomenon.
RESUMEN
El arte urbano, tradicionalmente asociado con aspectos estéticos,
criminalización y vandalismo, ha evolucionado hacia una forma de
expresión democrática y cultural. Manifestado en murales, grafitis y
otras formas visuales, este arte refleja la creatividad que florece en
entornos urbanos y comunidades. El presente artículo analiza esta
transformación del arte urbano, tradicionalmente enmarcado en la
criminalización y el vandalismo, hacia un reconocimiento como una
manifestación cultural democrática. La metodología utilizada es un
estudio bibliográfico con enfoque cualitativo. Los resultados
principales indican un cambio de paradigma: el arte urbano ha pasado
de ser estigmatizado a ser reconocido como una forma legítima de
expresión artística y cultural con importantes implicaciones
democráticas. Este cambio se debe a una mayor comprensión de su
potencial como herramienta de empoderamiento, crítica social y
participación ciudadana. Como conclusión principal, se explica que el
arte urbano ha evolucionado de ser visto como mero vandalismo a ser
valorado como una manifestación cultural democrática. Permite a
diversos grupos de la sociedad expresarse y participar en la
construcción de narrativas urbanas. Esta forma de expresión artística
108
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
busca la belleza y la crítica social, contribuyendo al enriquecimiento
estético de las ciudades. El arte urbano, arraigado en las emociones,
pensamientos y experiencias de quienes lo crean, proporciona un
reflejo de la diversidad cultural y social. A pesar de la estigmatización
y criminalización, su influencia estética y su capacidad de
democratizar la cultura lo convierten en un fenómeno cultural
relevante.
Keywords / Palabras clave
right, childhood, violation, integral development, right to education
derecho, niñez, vulneración, desarrollo integral, derecho a la
educación
Introduction
The cultural manifestations are the contemporary processes that are
formed in the main Latin American metropolises, diverse
contemporary processes are developed that shape urban life and
society in the region, according to urban art that are of relevance for
the understanding of varied aesthetic discourses on the construction
of images of the city. Likewise, they denote the characteristics and
inclinations of the people who use it as a means of manifestation, that
is to say, these processes reflect the preferences, values, interests and
needs of the people who participate in them.
These movements are a manifestation of the inclinations and values of
the people who seek to generate positive changes in their communities.
Urban art aims at harmony with the environment, trying to order the
preponderant and exalted aesthetic guidelines through an
intervention that enables the best use of the physical characteristics of
the public space through the skills of the author. It is based on the
thoughts and feelings of its artists (Viasus, 2019).
In different societies, it is traditionally shown that urban art has a
democratic scope in the valuation of culture, based on the thoughts of
the participants who take advantage of the conditions of the
environment with the purpose of publishing their interests and
requests. In general, they serve the needs of specific social groups or
actors.
Accordingly, there are cases in which certain urban artistic expressions
may be associated with vandalism groups or gangs, related to criminal
109
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
behavior, but it is important not to generalize or stigmatize all urban
artistic manifestations for this reason (Hidalgo, 2019). Graffiti and
other forms of street art are complex and diverse practices that can be
performed by a wide range of people with different motivations and
objectives. Thus, the need arises to study their delinquent separation
and their incidence within a normalized society. In other words, there
is an interest in considering the relevance of its democratization in
cultural valuation.
Thus, the general purpose of this article is to analyze urban art,
traditionally framed in criminalization and vandalism, as a democratic
scope in cultural valuation. The ultimate purpose is to explore the
relationship that exists between cultural expressions unlinked to
inappropriate behaviors generated by groups in popular communities.
Thus, the importance of the writing developed here is observed in the
contribution to the existing body of knowledge on the cultural
development carried out by the referred popular movements.
Materials and Methods
The study of social phenomena is based on the analysis and
understanding of social events or needs; and thus the process cannot
be developed without considering the experiential reality of the actors
involved. In relation to this, the methodological procedure indicates
the way in which the collection of the information necessary for the
satisfaction of the proposed objectives is carried out. In the present
work, the methodology addressed is based on the qualitative approach
which, according to Sanchez (2019), focuses on understanding the
behavior, motivations and characteristics of social groups. It is based
on more descriptive research methods that are based on
interpretations, experiences and their meaning. Likewise, it takes into
account the data and analyses previously done by other authors in the
same research topic.
Specifically, in the case that occupies the present article, through a
bibliographic-based research, it is expected to consult what has been
exposed by other studies related to the subject of urban art in the
valuation of culture. The purpose of this procedure is that through the
comparison and analysis of the works consulted as a whole, new
contributions and conclusions on the subject will be presented.
110
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
Results
Throughout the present work, studies related to urban art previously
presented by other authors were consulted, and the main results can
be evidenced as common and contradictory aspects in relation to the
subject under analysis. Accordingly, there are conflicting positions in
reference to urban art as a scope for the valuation of culture. Thus,
Herrera and Salas (2021) explain that within the public space,
interculturality and urban art are linked, in the sense that they
represent two phenomena that occur through the interaction between
individuals in a given environment. This is how, graffiti are an
essential part of these cultural expressions related to social coexistence
in different popular environments.
For his part Jarro (2018), explains urban art arises in the context of
the artistic avant-garde of the twentieth century and later integrated
into the artistic academy. Its origin and main development are located
in New York in the mid-1970s. This artistic movement is inspired by
pop art, comics and hip hop culture, and is generally carried out by
young people and social collectives with similar ideological objectives.
Through various intervention techniques, urban art seeks to convey
messages and stands out for promoting freedom of expression in
public space.
It involves any artistic activity whose context is the urban environment
performance in public, such as flashmobs, smartmobs, happenings;
the counterculture of hip-hop with graffiti, stencil or shoeffiti; and
music in the street. Several types of these expressions can be
highlighted as cultural practices, since they have a defined
organization, history and representatives. Graffiti, according to Jarro
(2018), as an artistic expression was born at the end of the 1970s in
New York, and spread to Europe through the hip-hop movement,
which brought as a consequence that it was introduced in almost all
Western countries. However, continents such as Asia and South
America, was where the development of the movement took longer,
although today it continues to grow in this area, reaching a sufficiently
high level.
As can be noted, the origin of graffiti is not directly related to the
artistic technique of graffiti, but is rather linked to the Greek term
grapho, which means to write or engrave. This connection traces the
origins of graffiti back to ancient Greco-Roman cultures, where writing
was done in public spaces. As a reminiscence of the Italian word
111
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
sgraffire (which in Spanish means sgraffito), which is a facade
decoration technique, according to which several layers of plaster are
superimposed on the wall, in which it makes small incisions by line
before it dries lifting large areas of the upper layer, which encompasses
its etymology: the superimposition of paintings (Jarro, 2018).
Additionally, as stated by Ariza and Caballero (2022), graffiti is a social
fact linked to the direct action of generating a mark in the public space,
in a particular or collective way, highlighting that the individuals who
execute it are the product of political, economic and social factors of
the society to which they belong, turning artistic interventions into
political acts aimed at the dissemination of personal messages or social
denunciation.
This is how, according to Jarro (2018), graffiti reveals a city full of
multiple meanings, which reflect the different ways in which people
experience urban life. These meanings are valuable for understanding
key aspects of the collective construction of cities, as well as for
expressing criticism and protests regarding the current social situation
or current state of a society or community at a specific time. It is known
as a pictorial artwork developed on the walls of street walls, which
seeks to break away from conventional exhibition spaces and directly
reach the general public.
Certainly, the study of interculturality and its influence on urban art
grants symbolic value to the improvement of integration processes,
identification and social protagonism, incited by means of plastic arts.
The graffiti artists, with innovative proposals and styles, direct the
cycle of current art history. Following the line of Jarro (2018), there is
a relevant advance in the production of Ecuadorian urban art linked to
graffiti, with works of great conceptual and aesthetic quality, in which
the representation of the cultural variety of the environment prevails.
From this perspective also suggested by Viasus (2019), in spite of the
development and inclusion within the artistic expressions of the
present time; there are reduced spaces in which it is stimulated to
theorize the cultural and political transcendence that graffiti possesses
within society. For this reason, it is a priority to relate with urban
artists and cultural managers linked to actors from various disciplines
whose participation may be interesting.
Thus, in reference to what has been said so far, the aforementioned
authors add that there is a need to expand knowledge for the joint
study of the importance of these manifestations, promoting a
112
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
significant transformation of knowledge among professionals from
different specialties and new generations of artists.
Similarly, the community artistic space requires for its empowerment,
the meeting and networking with educational, business and
community institutions, not only for the multiplicity of audiences, but
also to achieve recognition of graffiti artists in relation to the spread of
their work that, although unacceptable to certain areas of society,
becomes necessary to achieve a balance against social injustice and
totalitarian practices that are still present in the world.
By the way, Ariza and Caballero (2022), show a specific situation in
Colombia regarding cases of protest and the participation of organized
groups for the dissemination of education through communication.
According to the findings of the referred work, they generate collective
communicational processes that give rise to coordinated actions and
enunciate nonconformity against the posture and procedures of
hegemonic power, albeit virtually through social networks.
This approach provides an important point of reference to compare
and interpret different dynamics of interaction between artists and the
communities in which the mediation of the mural takes place and
which are developed at the moment of intervening the public space; in
other words, urban art is disseminated in the physical space where the
work of art is created, which implies that the public is not always the
main recipient of the work.
Within this line of urban art, it is also relevant to mention the position
of Cubides and Valderrama (2020), in relation to artistic practices in
the field of education through communication, since in these there are
communicative-educational practices of resistance, difference and
production of knowledge, which make possible the existence of new
forms of life and knowledge and give way to new subjectivities, as well
as other ways of socialization.
In reference to the authors, it is valued not only the production of the
artistic practices themselves, but also the means used for their
dissemination, reproduction and extension to the public and the
expansion of the audiences so that the works can be examined, that is,
by means of specific techniques or technologies that allow their timely
visibility in the process of formation of new knowledge.
Now, Onoa (2019), refers that the importance of the public graphic
expressions of post-graffiti and graffiti in the transformation of cities,
113
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
in the framework of the current urban redevelopment, is
complemented by the gradual process of institutionalization,
professionalization and regulation of these practices of recognized
urban art.
In his study, the author shows images such as the one shown below:
In relation to the previous image, Onoa (2019), warns that murals are
accepted as a contribution to the identity of the neighborhood. A
significant number of neighbors offer the walls of their houses to be
painted by local artists. However, the Comité Pro-Mejoras de La
Floresta warns that the neighborhood is changing from a residential
area to an area of the city with a new characteristic tone. The greatest
fear is that La Floresta will undergo the same transformation as the
Mariscal area, which is currently an area of bars, discotheques and a
high crime rate.
According to the aforementioned author's study conducted in Quito in
the La Floresta neighborhood and the San Roque Market, the
importance of analyzing public graphics in these two social spaces, as
evidenced in the previous image, is based on the fact that it is feasible
to document the variations in the use of graphics by analyzing the
different spatial, economic, political and socio-cultural characteristics,
as well as the needs and interests of the actors involved in the
production and appropriation of these graphic representations.
More recently, Ariza and Caballero (2022), point out that, during the
social protests in Colombia in 2021, numerous forms of linguistic
expression that emerged in the course of this situation were evidenced.
In addition, a wide variety of resources used for personal, group and
social communication by youth movements were observed, among
them Street Art, represented by graffiti and muralism. These elements
become fundamental components that relate to the field of education
through communication.
In this context, urban art is not only a matter of decoration that
embellishes and gives color to cities, nor is it a simple matter of visual
pollution; specifically, urban art is any form of artistic expression
carried out in the streets that conceives the city as a compendium that
can be mediated by a series of works related to urban culture and
whose field of action are the societies themselves, which implies a field
of socio-political transformation, and inclusive (Ariza and Caballero,
2022).
114
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
Furthermore, according to Ariza and Caballero (2022), urban art
represents a paradigm loaded with meanings and social
representations that not only invite the public to contemplate it, but
also to reflect on it. Its objective is to communicate and express a visual
message, and goes beyond simply transmitting information, seeking to
generate critical knowledge through a universal language
understandable to all.
For this literature review, different research works were initially
approached, which included journal articles and available doctoral and
master's theses, as well as the review of complementary documents
referred to in these bibliographies. In this way, specific studies were
selected which have allowed the analysis developed throughout the
research, thanks to their relevance for the purpose established here;
these works deal with issues related to urban art and cultural
valuation.
Thus, it is noticeable that the researches consulted focus first of all on
the analysis of the image, graphic art, debates and positions regarding
politics, anti-hegemonic struggles, and, more recently, on the role of
social media as a communicational complement to the activities of
these collectivities and their role in politics.
That said, common aspects are evident in the studies consulted, which
allow us to identify the following recurrent paradigms: graffiti as a
political discourse of opposition and manifestation of identities and
subjectivities, the criminalization of graffiti and cultural
manifestation, and social networks as mobilizers of social protest.
However, these trends do not develop in isolation, rather, on the
contrary, they show several coinciding themes considering that, for
example, graffiti as a form of artistic expression is an essential feature
of various social dynamics among which are political positions,
identities, discourses, discernments, social mobilization, among
others (Valladares, 2021).
As Valladares (2021) refers, when walking through any neighborhood,
sector or community, it is common to observe images impregnated
with the city and diverse artistic materials impregnated with colors
and contents clearly evidenced as graffiti, vandalism, illegal, scratches,
youth, terms that are related to the marginality denoted by these street
expressions.
115
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
It should be noted that a great variety of artists have used their
representations of protest with an important tone of repudiation
against the existing regimes, such is the case of the previous image
where a girl with a balloon is visualized in a mural made by the graffiti
artist Banksy. The mural symbolizes a girl letting go of a red balloon in
the shape of a heart. Banksy used a variant of this image in his 2014
campaign in support of Syrian refugees (Ariza and Caballero, 2022).
According to the aforementioned authors, a range of disciplines have
focused their attention on this cultural phenomenon, citing mainly
logical, anthropological, architectural, educational and visual artistic
topics. However, according to the normal connotation of this urban
practice, they are cultural manifestations with a democratic scope in
the cultural valuation to know the city, the street and the community.
That is to say, they have a democratic scope in cultural valuation by
providing the opportunity to get to know the city, the street and the
community from different perspectives. Through its artistic
manifestations in public spaces, graffiti allows the voices and
expressions of diverse groups to be visible and accessible to all.
At this point it is important to mention that it is normal to appreciate
a common debate when citing topics referring to graffiti, urban art and
street art, Street Art considering that authors such as Fernández
(2018), explain that the latter is not the result of graffiti, but a
contemporary phenomenon that includes different manifestations
such as musicals or performance.
However, Martinez and Martinez (2021), argues the use of the various
elements without requiring the differentiation of a single concept, in
view of the fact that as psychosocial processes both expressions
maintain a close relationship not coming from chance. In this sense, it
encompasses the terms graffiti and Street Art to refer to cultural and
playful urban practices such as graffiti, sticker, propaganda, among
others.
According to the authors, urban art can be used as an example of
communication and vindication. Through it, observers are able to see
beyond the artistic representation and even beyond the author's own
thoughts. There is the ability to relate it to everyday situations, with
visualizations and videos of current events. Moreover, the
technological and data development can represent an advantage,
since, by being understood from the current social, political, economic
and climatic reality, it promotes the progress of the activity and the
116
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
creation of relevant and innovative discussion groups to the problems
of modernity.
In this regard, Pedroza (2019), points out that cultural practices that
have been mostly stigmatized and categorized as vandalism or
criminal acts, hardly result considered within the general concept of
culture, essentially because they are considered as unproductive
arising from leisure and young people. Specifically, emphasis is placed
on graffiti and Street Art, which have brought to light different
paradigms of thoughts characterized by behaviors, manifestations or a
qualitative language that personifies their nonconformity with the
existing conditions in the immediate environment that surrounds
them.
In this order of ideas, Sora (2018), adds that, despite their oppositional
characteristics, such forms of thought do not cease to be culture as the
guild has made think, according to the opinion of the aforementioned
author, they are cultural manifestations that are part of society, of the
world that surrounds human society and therefore denote a
democratic scope in their cultural appreciation.
Now, the contextualization of this social phenomenon means to
understand the atmospheres in which they are located and why they
arise according to the features of protest and rebellion that
characterize them, framed in a playful form of culture. That is, as
Manzo (2018) explains, the marginality with which the graffiti
movement was born, for example, was not decided to be that way, but
rather, it was the environment and thinking of society that brought
with it a new cultural expression; it was the resources and thoughts of
each moment that characterized it in that way granting the
environments for its generation and flourishing.
Likewise, Ariza and Caballero (2022), point out that these
manifestations of Street Art emerged in different countries at specific
moments in history. In the United States, during the 1970s, hip-hop
graffiti stood out as a form of unauthorized street art. In Paris, in the
1960s and 1970s, graffiti was a fundamental element in student
uprisings and was used to express political ideas with double entendre,
irony or humor. On the other hand, muralism had its first practices in
Mexico after the 1910 revolution, presenting itself as a public art
inspired by the popular. In Brazil, during the 1990s, muralism was
used as a pictorial technique to represent the political and social
situation of the cities.
117
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
These processes, as explained by Temblores (2021), as well as the
situations generated in Colombia in the year 2021, have allowed
exploring and highlighting communicative actions and messages
developed in these contexts, whose general characteristics refer to
innate cultural values of the groups involved. As well as, they are
related to Sustainable Development Goals exposed by the United
Nations (2018).
We speak then of the field of education through communication, which
aims to sustain forms of resistance and social transformation through
the systematic search for the autonomy of the word, taking as a
premise that the production of collective knowledge by popular
movements and citizenships, aims to generate new tools that alter
practices such as oppressive relationships, thanks to cultural practices
that have been historically stigmatized and labeled as vandalism or
criminal acts, actually have a democratizing power in cultural
appreciation.
Conclusions
As it is possible to appreciate, urban art or Street Art has played a
predominant role in the contemporary history of society, considering
that through this type of artistic expression people take to the streets,
using them as alternative communication scenes to express their
political positions and their disagreements with authorities who do not
listen to them through cultural expressions that have traditionally
been labeled as criminal and vandalism and that have a democratic
character in cultural appreciation.
While it is true that some gangs or vandal groups may use graffiti as a
way of marking territory or communicating messages related to their
criminal activity, this does not mean that all urban artistic expressions
are linked to violence or vandalism. Many legitimate and talented
urban artists use these art forms to express themselves, beautify the
urban environment, and generate social and cultural dialogues.
It is important to approach each case individually and analyze the
specific circumstances before making generalizations. The diversity of
urban artistic expressions is broad and ranges from illegal graffiti to
legal and collaborative urban beautification projects. It is essential not
to automatically stigmatize these manifestations, but to understand
that there are diverse actors and purposes behind them.
118
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
As can be inferred after concluding the research, the forms of cultural
expression that have generally been associated with criminalization
and vandalism, which in reality have an impact on cultural valuation,
are also closely linked to the correspondence between graffiti and
muralism as forms of urban art in conjunction with protest and
collective action in the field of social movements.
Like dances, batucadas, performances, graffiti and muralism, as Street
Art techniques, have served as means of social protest, cultural
expression and memory; which have highlighted their contesting and
anti-hegemonic character that are generally referenced as a
combination of vandalism and civil disobedience given their
background.
As a final point to this article, cultural expressions that have been
commonly stigmatized and considered vandalism or criminal acts
have a democratic impact on cultural valuation. This is due to the use
of these artistic representations as sources of vindication and social
awareness. This form of urban artistic expression has the capacity to
democratize and broaden the appreciation and valuation of culture in
society.
Therefore, it is important to be aware of the artistic, cultural and social
value of Urban Art and the relevant role it plays in today's society.
Therefore, the democratic appreciation of the use of Street Art as a
model of cultural manifestation is inferred, as well as the use of murals
as a means of communication of social reality as an element of debate
and reflection.
References
Ariza, J., & Caballero, J. (2022). Graffiti y arte mural: agentes de la
protesta social en Colombia. Colombia: Universidad Distrital
Francisco José de Caldas. http://hdl.handle.net/11349/29551
Cubides, H., & Valderrama, C. (2020). Prácticas de colectivos sociales
y revolturas del campo de Comunicación-Educación. Bogotá:
Editorial Universidad Distrital.
Fernández, E. (2018). Origen, evolución y auge del arte urbano. el
fenómeno Banksy y otros urbanos. Madrid: Universidad
Complutense de Madrid.
https://hdl.handle.net/20.500.14352/15547
Herrera, P., & Salas, X. (2021). La interculturalidad y su influencia al
arte urbano, en estudiantes de la Carrera de Pedagogía de las
119
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
Artes y las Humanidades. Universidad Nacional de Chimborazo.
http://dspace.unach.edu.ec/handle/51000/7265
Hidalgo, L. (2019). El graffiti como forma de expresión y
comunicación en los muros de Guayaquil (Bachelor's thesis).
https://dspace.ups.edu.ec/handle/123456789/17450
Jarro, O. (2018). Transformación de roles y estereotipos de género a
través de la democratización familiar para la visibilización de
acciones artísticas de mujeres jóvenes en el municipio de
Querétaro. Querétaro: Universidad Autónoma de Querétaro.
http://ri-ng.uaq.mx/handle/123456789/1120
Manzo, G. (2018). Sobre el derecho a la protesta. Novun Jus, 17-55.
doi:10.14718/NOVUMJUS.2017.12.1.2
Martínez, C., & Martínez, M. (2021). Quedamos d´animacio i. Revista
Electrónica'Quaderns d'Animació i Educació Social', 2021(34),
p. 1-16.
https://roderic.uv.es/bitstream/handle/10550/80815/149097.
pdf?sequence=1&isAllowed=y
Naciones Unidas. (2018). La Agenda 2030 y los Objetivos de
Desarrollo Sostenible: una oportunidad para América Latina y
el Caribe (LC/G. 2681-P/Rev. 3), Santiago.
Onoa, E. (2019). Graffiti, postgraffiti y reconfiguración urbana: usos
sociales de las gráficas públicas en el mercado popular de San
Roque y en el barrio La Floresta. Ecuador: Universidad Andina
Simón Bolívar. http://hdl.handle.net/10644/7340
Pedroza, M. (2019). Estéticas de la calle. 7a edición de un congreso
transdisciplinario. Revista Digital Universitaria, 20(5), 1-9.
https://www.revista.unam.mx/2019v20n5/esteticas-de-la-
calle-galeria-de-los-mejores-trabajos-del-evento/
Sánchez, F. (2019). Fundamentos epistémicos de la investigación
cualitativa y cuantitativa: Consensos y disensos. Rev. Digit.
Invest. Docencia Univ, 13(1), 102-122.
doi:http://dx.doi.org/10.19083/ridu.2019.644
Sora, C. (2018). Grafiti y Street art, dos formas de mirar la ciudad.
Bogotá: Universidad Distrital Francisco José de Caldas.
http://repository. Udistrital.edu.co/handle/11349/8850
Temblores. (2021). Resumen Ejecutivo Informe de Temblores ONG,
Indepaz y PAIIS a la CIDH sobre la violación sistemática de la
Convención Americana y los alcances jurisprudenciales de la
Corte IDH con respecto al uso de la fuerza pública contra la
sociedad civil en Colombia. Colombia. https://4ed5c6d6-a3c0-
4a68-8191-
92ab5d1ca365.filesusr.com/ugd/7bbd97_00f4e54bbb3742d9ac
4a3e21dfddeac4.pdf
120
Received Febrary 02, 2024/ Approved May 09, 2024 Pages: 106-120
eISSN: 2600-5743
Centro Sur Vol. 8 No. 3 – July - September
Valladares, G. (2021). Formas de la cultura: el graffiti y el street art,
una visión desde adentro. México: Universidad Nacional
Autonoma de México.
https://ru.dgb.unam.mx/bitstream/20.500.14330/TES010008
19145/3/0819145.pdf
Viasus, J. (2019). Graffiti en Solanda: dinámicas de construcción
estética de un barrio al sur de Quito. Ecuador: Flacso .
http://hdl.handle.net/10469/15493
