DIFFERENCES UNITE US. Two-faced Visibilized Multiculturality

DIFFERENCES UNITE US: Two-Faced Visibilized Multiculturality

Belén Alonso , Ariadna Masip & Alex Miralles

1. INTRODUCTION

Our selection of a linguistic landscape sample is directly aimed at dealing with a geographical area of ​​Lleida still slightly covered so far in this 5-year project: la Mariola (see section 2. CONTEXTUALISATION). It is a large colourful multimodal graffiti, 49m2 of both mural painting and writing, which reads "differences unite us" in the standard variety of 8 languages: Spanish, Catalan, English, French, Romanian, Russian, Arabic, Chinese and another language we, unfortunately, have not been able to identify when we publish this entry in the blog. We suppose it must be some language spoken in the zone of India and Pakistan since we find some similarities to Bengali and Gujarati. In the graffiti, four different alphabets are used: Roman, Arabic, Cyrillic, and Chinese sinograms.

 The graffiti, as we will explain later, was painted in 2020. We can date a clearly recent addition of support for the Ukrainian people for the current Russian invasion, reflected by a heart with the yellow and blue flag of the country, and the sentence "you are not alone" written in Spanish. It is a transgressive token and has an aesthetic artistic function intrinsic to any graffiti, particularly due to its design and the accompanying mural painting. 

2. CONTEXTUALISATION

Just where Carretera de la Mariola changes its name to Carrer de Mart at its intersection with Carrer Riu Flamisell, a space with the appearance of a square without a name of its own is created. This is the spot where we found our chosen token (see Figure 1). It is flanked by several buildings that make up the Juan Carlos blocks, built in the 1960s, social housing flats addressed to people with low economic resources.

Figure 1. Map of south Mariola, LL token location.  Source: Google Maps.

According to official data (La Paeria, 2012), almost 25% of the population of this zone in Lleida called “la Mariola” were immigrants from other countries, although it is likely that in these 10 years this percentage has increased considerably. Nevertheless, immigration started 50 years ago when “the need for housing was pressing in the city after the Civil War with the remarkable demographic growth of the 1960s, fueled especially by movements intra-peninsular migrants”(Bellet, 2021, p.88), especially from Aragón, Murcia, Castilla y León, and Andalucía.

Except for two residential buildings located on the edge of the neighbourhood, bordering the Horta de Lleida,  the vast majority of buildings in La Mariola date back to constructions carried out between the 1950s and the end of the 1970s. The maintenance of their facades and infrastructure, as well as most public areas, has been minimal and the passing of time has made a dent in a neighbourhood with a very obvious appearance of abandonment.

We could agree la Mariola is within the parameters of a residential neighbourhood. The scarcity of shops becomes evident as the street bordering the neighbourhood with the rest of the city, Gran Paseo de Ronda, is left behind. In practically a matter of two blocks, only a few surviving businesses remain in an environment without much commercial and even less touristic life.

Figure 2. Map of the street view of the area.  Source: Google Maps.

As pointed out by C. Bellet (2021, p.77) la Mariola "is today one of those (neighbourhoods) that concentrates a greater proportion of poverty and stigmatization in the city, a situation that is related to the action (and inaction) of public policy over time". It would be understandable to think that this point has also been reached from a popular idea, commonly agreed upon over the years by the opinion of the rest of the city, that Mariola is a 'dangerous' zone in the city where street brawls and robberies are commonplace. La Mariola is a stigmatized neighbourhood popularly known as practically a 'ghetto' (see Section 3. METHODOLOGY)

3. METHODOLOGY

After the first visit made by Belén on April 24, 2022, at 7.00 a.m. as part of the collection of possible LLs, the first photograph was taken. Once we selected this token, the group made two more visits to the area. 

During the second one, on April 28 at 5:00 p.m., we took photographs of the complete graffiti and the linguistic landscapes that surround it. The LLs near our token included: two visibly long ago closed bar signs (‘Bar Ana’ and ‘BAR PLIS-PLAS), an ‘on sale’ sign with a telephone contact number next to a closed ground floor property (SE VENDE) a graffiti in Spanish (Rafi EL MAS VACILON), an operating butcher’s sign in Catalan (CARNISSERIA TORRELLES), and some words written on the floor as clues or instructions to play the ground games drawn on the floor in Spanish (ZIG ZAG, 1PIE, RECORRE, EQUILIBRIO) and English (RUN). While we were collecting these LLs data and for about an hour and a half more, we listened to the languages ​​used by the passers-by and occupants of the square, 95% of whom expressed themselves in Spanish. Only by expanding our listening radius were we able to distinguish two other languages. The closer we got to Paseo de Ronda, that is, towards the edge of the neighbourhood that borders the rest of the city, we heard a higher percentage of Arabic. Just in the last stretch, about 75 meters long, there are 3 shops run by Moroccan merchants and an informal prayer centre, not exactly a mosque.

Figure 3. Image of the square where the token is located. Source: Belén Alonso, 24 April 2022

Figure 4. Image of one of the surrounding LLs. Source: the authors, 28 April 2022

We paid the third visit on May 3 at 5:00 p.m.. On that visit, we verified our suspicions that the graffiti had not been made by an anonymous author. In the Civic Center of Mariola, located just 25 meters from our token, we were informed that approximately a year and a half ago the decoration of that wall had been part of some activities led by the City Council, La Paeria. It was then that we searched the Internet and finally found the purpose of the graffiti.

The graffiti was organized by La Paeria, especially organized by the La Paeria’s Department of Youth, Festivals, and Traditions. Thanks to the illustrator Cristina de Juan and a group of young people from different centres, for instance, Centre Pare Palau, Centre Ciberaula Les Moreres and Centre Calidoscopi.(La Paeria, 2020) this graffiti was created. Each of these centres has similar purposes but at the same time different ones. They are addressed to teenagers and children that help them socialize and develop their personalities and help them find a job, also some of them help the families without resources.

The aim of this graffiti is to decorate the city's streets and squares to promote a positive image that is free of stereotypes and emphasizes the character of the neighbourhood and the people who live there (Segre, 2020).

According to the official website of the Generalitat, the Generalitat's publications, bulletins, public announcements, and advertising must all be in Catalan. The Catalan version must be the most noticeable if other languages are utilized. (Gencat, 2019). This article refers to top-down policies.

However, our Linguistic Landscape (LL) is a clear example of a bottom-up source. So, the focus in this part will be on bottom-up language policies. In the city of Lleida, it is forbidden to make graffiti or any other graphic expression, whether drawings, writings, and/or scribbles, made with any material (ink, paint, etc.). However, upon presentation of the appropriate application, the City Council may approve any graphic expression. (Paeria, n.d).

There is another article from the Ajuntament de Lleida, known as La Paeria (n.d) expresses that any graffiti, murals, projections, and other techniques that can be regarded an artistic expression that develops in the urban space are permitted on any support that can be painted or modified, such as facades, walls, store shutters, wall barriers, etc. 

Talking about the aims of this graffiti, we have to ask ourselves “what is the real reason behind this graffiti?”. It is because they really want to promote this positive image of the neighbourhood and its inhabitants, or it is because they want people to believe that they do it for that reason, and that benefits them because it makes good publicity for them. Maybe, what they are trying to do is this two-faced reality of the graffiti, one face is the reason they give to the press, and the other is to clear the name of the institution and those in charge, making it seem that they are genuinely interested in the project.

4. RESULTS AND DISCUSSION

It is fascinating to study creative achievements and their connections to the cultures in which they were developed because this influences the art produced under specific circumstances. We may better grasp the society we live in by studying different currents and artists and linking them to the societal causes that pushed each style.

Hernández (2012) discusses how graffiti has evolved into an artistic statement of multicultural character, whose presence in cities alters the perception of urban space.

The goal of these efforts is to beautify the city's streets and squares in a favourable light, away from stereotypes to protest and transgress. The Mariola mural seeks to be a reflection of tolerance and respect, good relationships that emphasize the character of the area and the people who live in it, on this occasion and in keeping with the theme of making multiculturalism apparent. The art is accompanied by the statement 'Let the differences unite us' written in several languages and alphabets, as a consequence of the young people's suggestions (see figure 5).

Figure 5. Image of token. Source: the authors,  28 May 2022

The social meanings assigned to it, such as local and global languages in context and Englishisation processes in Lleida, are connected to how diversity is portrayed in the city, given the city's many cultures and languages. Among the many initiatives for pro-multilingualism, we can find in graffiti in Lleida it is critical for society to evolve to have a mural that is particularly designed to shine a light on today's reality; 8 different realities. The diversity of individuals who live and work in Lleida supports the city's economy and a huge social component, enhancing the population and all that stems from it.

It's worth noting that one of the mural's greatest tributes is the visibility of many identities and languages that aren't generally prevalent in society. Languages like English or Spanish, for example, can be found in different murals/situations in Lleida, although Arabic or Chinese lettering is harder to come by. The mural aims to increase public awareness of the diversity of cultures that exist inside the city, which go beyond what we know or consider to be "typical." 

On the other hand, it is critical to empower and educate the city's minority languages. The majority languages, we could say, are Catalan and Spanish, as well as much more English (taking into account tourists and exchange students). There is also a representation of another type of alphabet that is critical to provide knowledge that the alphabet "we all know" is not the only one that exists and that multiculturalism is a reality.

The three features of graffiti, multiplicity, subjectivity and their impact on society's attitude add a new layer of complexity to public debate. This democratic process of debating and exchanging ideas and viewpoints just requires us to rethink our barriers. Semiotics is the study of symbols, and if we consider graffiti to be a sign or indicator of progress, we may use this scheme to examine graffiti movement. The sentiments, colours, and themes portrayed in graffiti impact those who share the same place, whether overtly or covertly.

This graffiti includes values relating to multiculturalism's history, identity, and societal values, according to the categorization of the Landscape Observatory of Catalonia (The Landscape Observatory of Catalonia, 2022) as evidenced by the fact that the slogan "Let differences unite us" is written in various languages so that everyone may comprehend and recognize the message. People value their sense of belonging to a location because it allows them to feel included in a group of people and a community. To be able to express a sense of identity to others, it is vital to understand our ancestors' and nations' histories in order to know where we came from and where we are today.

Art may be used to enhance social bonds and beautify public places in our community, as we have already mentioned. In recent years, this creative expression has emerged as a viable option for reclaiming urban grey zones, forging connections with residents, and reinforcing social identification. As a result, it has a significant component of belonging identity. /association with the nation or city of origin.

Multicultural art focuses on pieces of creation that have a cultural aspect at their core. These themes of interculturality, equality, and coexistence have been painted on the walls. Multicultural art, according to Kristen Ali Eglinton's 2003 book Art in the Early Years, is "the study of the artistic and aesthetic achievements of the people and cultures that make up the non-Western globe." 

 

 

Figure 6. Image of the mural next to the LLs. Source: the authors, 28 April 2022.

Multiculturalism can be understood as a political theory encompassing a wide range of ideas and policies, from advocating for equal respect for all cultures in society to policies that promote cultural variety preservation to policies that include individuals of many nationalities.

So, in conclusion, this movement, as a political theory encompasses a wide range of ideas and policies, from advocating for equal respect for all cultures in society to policies that promote cultural variety preservation to policies that include individuals of many nationalities. Other settlement strategies such as social integration, cultural assimilation, and racial segregation are frequently contrasted with multiculturalism, which advocates keeping the diversity of diverse cultures. 

5. CONCLUDING THOUGHTS

Finally, the goal of this project was to investigate a multilingual sign-in in which English was one of the many languages used. We realized that English is everywhere; you can see it on billboards, in shops, in the names of restaurants and coffee shops, and so on.

This project provides us with a better understanding of sociolinguistics and how it works. It surprised us that in the Mariola neighbourhood has such a diverse range of languages and cultures coexisting in the same space. Also, this mural was created to inspire people to think about tolerance and respect, delivering positive traits that highlight the character of the area and the people who live there. 

But, as we said before we think that there is a different reason behind the purpose of the graffiti. Investigating we can discover that something may not be as improvised, not as transgressive as it may seem at first glance, that there may be different reasons not so much in solidarity to make a mural like this.

We can see how sociolinguistics is present in our lives even when we are unaware of it thanks to this project. It has been encouraging to take an active part in this long-term collaborative project, with so many people involved and hopefully so many still to be. We are much more aware now of concepts about metalinguistics learned in class, and we think we have a better understanding of sociolinguistics’s macro vision of language.

6. REFERENCES AND WEB SOURCES

BELLET SANFELIU, C. (in press, 2021), “La producción de un barrio desfavorecido en los márgenes de una Ciudad media: La Mariola (Lleida)”, Scripta Nova. Revista electrónica de ciencias socialesButlletí Oficial de la Província. (2014). No title. La Paeria. (2012). 

Butlletí Socioeconòmic de Lleida. Retrieved from http://paeria.cat/butlletieconomic/2012/03-juliol/06-poblacio.pdf 

Chacón-Cervera, J. C., & Cuesta, O. (2013). El grafiti como expresión artística que construye lo político: pluralidad de mundos y percepciones. Una mirada en Bogotá. Revista nodo, 7(14), 65-76.

Eglinton, K. A. (2003). Art in the early years. Routledge.

Gencat. (2019).Usos lingüístics institucionals a la Generalitat de Catalunya i el sector públic que en depèn. Retrieved from https://llengua.gencat.cat/ca/serveis/legislacio_i_drets_linguistics/Preguntes-mes-frequeents/ambit-public/usos-lingueistics-a-la-generalitat/

El Segre. (2020). Un mural para la tolerancia. Retrieved from https://www.segre.com/es/noticias/guia/2020/11/29/un_mural_para_tolerancia_120246_1111.html

Hernández, M. D. L. E. C. (2012). Los graffitis y el espacio urbano: El “Niño de las 

La Paeria. (n. d.). Ordenança municipal de civisme i convivència de la ciutat de Lleida. Retrieved Pinturas”. Revista Quiroga, (2), 10-29.

from http://www.lleidaparticipa.cat/public/197/docs/6c2e2ab8cee8ef11cc82f1e8621d78b5.pdf

La Paeria. (n.d). Ordenança del paisatge urbà de Lleida. Retrieved from https://urbanisme.paeria.cat/paisatge-i-patrimoni/fitxers/documents/paisatge_i_patrimoni/tallers/ordenanca-del-paisatge-urba-de-lleida.pdf

La Paeria. (2020). La il·lustradora Cristina de Juan ha dirigit l’activitat artística, programada en l’Agenda Jove Tardor 2020 de la Regidoria de Joventut. Retrieved from https://benestarsocial.paeria.cat/serveisespecialitzats/infancia/noticies/un-grup-de-joves-pinten-un-mural-de-49-metres-quadrats-en-favor-de-la-tolerancia-i-el-respecte-a-la-mariola