Intercultural Design - Project 1

on

Intercultural Design - Project 1

10/01/2023-02/02/2023 (Week 1- Week 4)
Brigita Maria/0352958
Information Design/ Bachelor of Design in Creative Media
3D render by Sebastian Svenson


LECTURES

CULTURE, DESIGN, AND RESEARCH

It takes more than skills, intuition, and creativity to be a good designer. We need to do RESEARCH! 
With research you are able to gather more data and process them into crucial information needed to kickstart your workflow. This information will then be used later to help visualize the projects, and of course, convey the messages properly.
Fig 1.1 Sailor's Tattoo

From the sailor's hands to his feet, the symbols tell the stories of journeys made along the open water. Traditionally, Japanese tattoos began as a means of conveying societal status, as spiritual symbols, as a sort of charm for protection as well as symbolizing devotion, not unlike modern religious tattoos.

Fig 1.2 Japanese Tattoo

With research You are able to identify the social, cultural & political sphere where the design elements reside. By understanding the significance of the graphics in its cultural studies, philosophy, sociology and origin history. But for this module, we will simplify all this through the breakdown and expansion though design system.

Fig 1.3 Design System

INSTRUCTION
Back to jumplinks


After choosing the group and team mates we add our team members Whatsapp and start to converse and discuss on the topic that we want to choose. We did a meeting to discuss on what topics we want to make and do some initial research to determine the topic.

Topics that we came up with:

- music, fashion (rebellious subcultures) such as Punk Culture in Japan and Malaysia
- Cyberpunk, Tech wear fashion

So to make the workload lighter we divide the initial research among us 6 people.

Anarcho-Punk Culture

    

Fig 1.4 Anarcho-Punk Logo

What is Anarcho-Punk?

Simply put, anarcho-punk is a subgenre of punk that pushes for anarchism. “Anarchism” comes from the Greek word anarchos which refers to the lack of authority. As a political view anarchism pertains to the belief that a government system is as harmful to society as it is unnecessary. 


The anarchist symbol consists of an ‘A’ which stands for anarchism, inside of an ‘O’ which stands for order, all together representing the philosophy “Order without Rulers”. 


History

While some people only consider the bands actively involved in the genre through the original anarcho-punk breakthrough in the 70s and 80s in the UK as anarcho-punk, others do also view any punk band with anarchist themes to be a part of the subgenre. 


Before that, especially in the 60s, various punk rock bands with anarchist members started involving radical politics within punk music, which really promoted using music as a form of social and political change. 


10 Anarcho-Punk Bands/Artists:


  • Rudimentary Peni (1980 - present), London, UK
  • Conflict (1981 - present), London, UK

  • Zounds (1977 - present, Readings, UK

  • Flux Of Pink Indians (1980 - 1986), Bishops Stortford, Hertfordshire, UK

  • Poison Girls (1976 - 1995), Brighton, UK

  • The Apostles (1980 - 1990), London, UK

  • Naked Aggression (1990 - present), Wisconsin, USA

  • Anti-System (1981 - present), Bradford, UK

  • Political Asylum (1982 - 1993), Sterling, Scotland

  • Toxic Waste (1982 - 1996), Belfast, UK


Anarcho-Punk in Malaysia

Rumah Api is an institution that houses a community fighting for social justice, equality, anti-authoritarianism, etc. 


“Our community includes artists and activists whose work promotes critical analysis and the possibility of expanded vision for our lives and the lives of our neighborhoods, cities, and communities. It includes punks who embrace the ethos of Do-It-Yourself, express positive outrage, and reject corporate commercialism. It includes nomads, squatters, fringe population, and people in the communitywho find the RUMAH API place to be heard and appreciated.

Our space is always available to punk, activists and other organizations for meetings, workshops, forums, benefits, workshops and so on.” 


Fig 1.5 “Vote for Nobody” banner outside Rumah Api



Hippie Culture

Material and Non-material

Origin
Hippie, also spelled hippy, member, during the 1960s and 1970s, of a countercultural movement
that rejected the mores of mainstream American life.

Movement

Fig 1.6 Hippie

The movement originated on college campuses in the United States, although it spread to other
countries, including Canada and Britain. The name derived from “hip,” a term applied to the
Beats of the 1950s, such as Allen Ginsberg and Jack Kerouac, who were generally considered
to be the precursors of hippies. Although the movement arose in part as opposition to U.S.
involvement in the Vietnam War (1955–75), hippies were often not directly engaged in politics,
as opposed to their activist counterparts known as “Yippies” (Youth International Party).

Non-material (Lifestyle, Belief…)

Fig 1.7 Hippies

Hippies were largely a white, middle-class group of teenagers and twentysomethings who belonged to what demographers call the baby-boom generation. They felt alienated from middle-class society, which they saw as dominated by materialism and repression. Hippies developed their own distinctive lifestyle, whereby they constructed a sense of marginality. They experimented with communal or cooperative living arrangements, and they often adopted vegetarian diets based on unprocessed foods and practiced holistic medicine. (Rabbit food)

For many The Whole Earth Catalog, which first appeared in 1968, became a source for the necessities of life. It was crucial for former urban dwellers who practiced semi-subsistence farming in rural areas (in what came to be called the back-to-the-land movement). Hippies tended to be dropouts from society, forgoing regular jobs and careers, although some developed small businesses that catered to other hippies. Many critics noted that hippies had the luxury of being able to “check out” of society and remarked on the incongruity of hippies’ participation in the civil rights movement, wherein Black Americans were fighting for the right to fully participate in society.

Hippies advocated nonviolence and love, a popular phrase being “Make love, not war,” for which they were sometimes called “flower children.” They promoted openness and tolerance as alternatives to the restrictions and regimentation they saw in middle-class society. Hippies often practiced open sexual relationships and lived in various types of family groups. They commonly sought spiritual guidance from sources outside the Judeo-Christian tradition, particularly Buddhism, Hinduism, and other Eastern religions, and sometimes in various combinations.

Astrology was also popular, and the period was often referred to as the Age of Aquarius. Hippies promoted the recreational use of hallucinogenic drugs, particularly marijuana and LSD (lysergic acid diethylamide), in so-called head trips, justifying the practice as a way of expanding consciousness. Indeed, drugs were one of the reasons given for traversing the “hippie trail.” Between 1957 and 1978 some 100,000 young people from the United States and western Europe traveled overland through Yugoslavia, Bulgaria, or Greece to Turkey, India, Morocco, Iran, Afghanistan, or Nepal. In addition to drugs, they sought enlightenment, adventure, or something “exotic.”
Music

Both folk and rock music were an integral part of hippie culture. Singers such as Bob Dylan and Joan Baez and groups such as the Beatles, Grateful Dead, Jefferson Airplane, and Rolling Stones were among those most closely identified with the movement. The musical Hair, a celebration of the hippie lifestyle, opened on Broadway in 1968, and the film Easy Rider, which reflected hippie values and aesthetics, appeared in 1969. The novelist Ken Kesey (author of One Flew Over the Cuckoo’s Nest) was one of the best-known literary spokesmen for the movement, but he became equally famous for the bus tours he made with a group called the Merry Pranksters.

Fashion

Fig 1.8 Hippies


Hippies were also known for their unique style, favoring long hair and casual, often unconventional, dress, sometimes in “psychedelic” colors. Many males grew beards, and both men and women wore sandals and beads. Long flowing so-called granny dresses were popular with women, and rimless granny glasses with both men and women. The hippie movement can be seen everywhere in mainstream fashion. Major brands such as Urban Outfitters have long advertised hippie dresses, pants and jewelry. Fashion catalogs commonly flaunt pages of expensive clothing modeled after the care-free items worn by the original hippies of the 1960s and 1970s.

From the beginning, hippies rose with the intent to carry out this peaceful rebellion. They consisted of people who tasted life within the walls of office buildings and came back to say, “This is not how we wish to live.” It was a rebellion that had been brewing over the years, perhaps unconsciously. But the initial protests that erupted over the Vietnam War gave many dissatisfied Americans the courage to stand up.

In addition to opposing the war, people began divesting from a society that felt alien to them. They deliberately turned away from the mainstream culture and chose, instead, to live on the margins of society. But it was not so easy to depart from common society, and at times, these people were ridiculed for doing so.

For us today to commercialize the hippie style for the selfish purpose of making money is deeply offensive to the hippie movement. It directly opposes its original foundations.

Hippie clothes today no longer represent rebellion as they once did. Models dress in costly hippie-like fashion and are photographed in hippie-like settings. Yet in these photographs, little thought is given to the underlying ideology and daring lifestyle the hippies originally practiced. For the hippies, their outfits suited their life of moderation. But they also dressed that way to set themselves apart from a society they disagreed with. Making costly dresses out of their modest attire and marketing these outfits to mainstream is contradictory to the values the hippie movement represented.

Certainly, the movement never officially ended. Rebelling against the unrelenting expectations and suffocating rigidness of society will always continue. But, we must not relate the hippie clothing marketed today to the original hippie movement. And those who wish to join the hippie movement must be able to distinguish what they see advertised from what they know of hippies, their freedom and the humble lifestyle they stood for.

The Art of Yuzen (Kimono)


Fig 1.9 Yuzen Painting

Yuzen is a dyeing technique is Japanese’s traditional dyeing technique. The term Yuzen was derived from Japanese Painter MiyazakiYuzensai. It involves drawing designs on white fabric with a paste resist before dyeing the fabric. Yuzen-dyeing, a paste resist-dyeing technique, was used to create freehand designs with multiple colors, resulting in large pictorial images, unburdened by the repetitive patterns that characterize most textile techniques.

Hon-yuzen: True Yuzen


The original yuzen process used stencils to transfer a design onto fabric, and starch (known as nori) onto the fabric to allow colors to be added layer by layer.


The first version of the image is initially sketched directly onto the fabric. The starch (nori) is applied to areas of the pattern that are to remain undyed. The nori acts as a boundary for the ink, protecting the untouched fabric from the dye. After the initial coloring has been done, a dye resistant starch known as fusenori is spread over the dyed area. The kimono’s base color is then dyed, while the covered area remains protected by the fusenori. 


Following these steps, yuzen kimonos can be customised to suit requests, so say for example you’re looking for a little extra old-world Kyoto style flare like gold leaf (which we’ll speak further about later), you can add it once the process it finished. The entire process can take upwards of a month.


Crafted over centuries ago, the technique has been tweaked and appropriated by other cultures outside of Kyoto and even Japan. Companies have found ways to automate the process, while in Okinawa local artisans created bingata a slightly different technique (used on fabrics beyond the kimono) that is said to have been crafted sometime in the 14th century, predating the creation of yuzen dyeing. 


Types of Yuzen:


Fig 1.10 Kyo-Yuzen

Kyo-yuzen: 

Kyo yuzen which as you probably guessed hails from Miyazaki Yuzen Sai’s home city of Kyoto. Created for the higher echelons of society, such as members of the imperial court, Kyo yuzen is all about showing off the finer things in life. Typical Kyo yuzen designs can be spotted by their intricate patterns, which are not afraid to incorporate elaborate silver and gold leaf embroidery into their design. 


Kaga-yuzen:

Originating in the arts-centric city of Kanazawa comes Kaga yuzen, a style which gets its name from the Kaga clan of Ishikawa Prefecture in which it evolved. The history books say that Miyazaki Yuzen Sai brought his technique to Kanazawa himself, however over time the style morphed into something a little different to its predecessor. On many Kaga yuzen kimono you may notice a recreation of a less than perfect leaf, maybe one that’s been bitten by an insect. This imagery is known as mushi-kui which translates to insect bitten. It’s a conscious artistic decision said to represent the transience of nature.  


One of the main ways to differentiate the two styles are the flower shading and use of gold and silver leaf. Kaga yuzen tends to avoid using gold and silver leaf for a slightly more understated approach to design. Remember the flower graditation on the Kyo style? From dark in the centre to light at the ends? Well Kaga style gradation goes the opposite, from dark on the outside to light in the centre. 


Edo-yuzen:

Born in Japan’s largest, the Tokyo version of yuzen was more inspired by sleek practicality than it was by over-the-top showmanship. You can easily identify a Edo or Tokyo yuzen by its more muted, softer color palette which often plays backdrop to images of Edo-era merchants at work. As this style was evolving, the city was under the rule of a strict sumptuary law which forbade people from any over displays of luxury and extravagance. 



Skate Culture
Skateboarding is often perceived as reckless and careless but it has a lot more depth to it than what is seen on the surface. It is about being your true self and expression, as well as community and togetherness. Skaters are supportive and help people achieve their goals, and they look after one another like family. The culture in itself is also meant to be a safe place for outcasts without having to apologize for being who they are, and promotes social justice for all. 


History

Skateboarding was once referred to as sidewalk surfing as it came from surf culture - it is essentially surfing on land. Southern Californians back in 1958 were looking for ways to create the same euphoria they got from surfing as an out-of-water experience, and propped up roller skate wheels on either ends of a wooden plank. They started skating on the asphalt sidewalks, and more and more surfers were building their own skateboards to be a part of this new exciting sport. In just a short period of time, proper skateboards were commercialised as the culture grew rapidly even outside of the surf community, and in 1963 the first skateboard team was formed along with the first ever skateboard competition.

Fig 1.11 First Skateboard


As skateboards evolved (with great influence from a group called Z-Boys) to be easier to manoeuvre using different materials and improved board shapes, skaters took it to empty swimming pools where they learned new tricks and made the sport all the more exhilarating. That’s where the concept of skateparks came from and ultimately led to the introduction of vertical, or “vert” skating. 

Fig 1.12 The first ever skatepark, Carlsbad Skatepark, was opened in 1976 in California

Art

Skateboarding is rooted in authenticity, freedom and nonconformity, where everyone is encouraged to be their true selves and express themselves. One way they do this is through artworks on their skateboards and even at the skateparks. 


Fig 1.13 Evolution of Skateboard


Back when skating first came around skateboards were just plain wood planks, and when skateboards became commercialised by Roller Derby they kept the raw wood look and added a logo on it. For a good while skateboards were just works of typography, added with a bright and funky background colour or pattern. Jim Phillips, Vernon Courtland Johnson or Wes Humpston began doing graphic works on skateboard decks around the 80s, and later in the 90s Marc McKee introduced more cartoon-ish or illustrative designs. When the 21st century rolled in, creatives were really reaching and let little-to-no bounds stop them. Personalised skateboards were just far better.

Fig 1.14 Skateboards

Like one would decorate a home, skaters painted theirparks. The most common styles used are freehand graffiti and also large-scale murals.

Fig 1.15 Skateparks

Fashion 

Skateboard and skatepark artworks are not the only forms of self-expression for skaters. With the rise of street skating in the 80s, fashion became a big part of skate culture. Loose baggy clothes, punk rock fashion, hip-hop fashion and all sorts of “outcast” styles became popular with skaters too because everyone felt welcome. 

Fashion enthusiasts outside skate culture look up to skate styles too - the carefree nature of skaters is very appealing which is understandable, because in regular society it isn’t always easy to present yourself as who you are. A lot of skater fashion is also heavily influenced by the African American community especially during the 90s. 

Fig 1.16 Skaters

Today however, there are more big-name brands capitalising off of skate culture than ever before, including but not limited to Nike, Supreme, Louis Vuitton and Gucci. 


Rebel Fashion: Japanese Delinquent Subcultures

Overview

Japan is often seen as a homogenous society in which people strictly adhere to societal norms and are encouraged to stick to the status quo. Those who don’t fit into these standard conventions are ostracized and considered outcasts.


However, there are many groups of people, especially youth, who reject and rebel against societal standards. These social rejects came together to create their own groups to stand against conventional society, and the biggest tool they used to stand out and distinguish themselves is their fashion.


There are many rebellious youth subcultures in Japan that use their appearance to establish their identities, but I will focus on three groups that have many overlaps: yankii, bosozoku and sukeban.

Yankii

Fig 1.17 Yankii Fashion


Originating from and developing within the 1960s to 90s, yankii is “a youth subculture based on rebellion and embracing of class distinctions.” These people are “mostly working class and sometimes suburban youth.” “Yankii are a group of people who refuse to conform to Japan’s strict societal norms, usually rebelling with brightly dyed hair, customized uniforms, and a willingness to fight.”

Some physical characteristics include dyed hair, especially red or blond, which contrasts the natural black and brown hair that Japanese people typically have. The hair may be in a pompadour or permed. These types of hairstyles are also a symbol of pride and a readiness to fight.


Yankii clothing overlaps with bosozoku culture, so the information will be in the next section.

Bosozoku

Fig 1.18 Bosozoku, a biker gang




Bosozoku are delinquents in roaming biker gangs. The word “bosozoku” loosely translates to “violent speed tribe” and they were typically from the Kansai region of Japan. Similar to yankii, they have dyed hair and/or pompadours and perms.


Their choice of clothing is modified school uniforms or long overcoats and jumpsuits called tokkou-fuku, inspired by manual laborers and World War II kamikaze pilots. They also customize this clothing using embroidery, and as there are many different gangs, these embroideries are typically kanji characters signifying their gang name or motto.

Sukeban

Fig 1.19 Sukeban Fashion

Sukeban were delinquent girl gangs prevalent between the 1960s to 80s. (Source) They emerged as a protest against the oversexualization of teenage girls, which is why they are characterized by very long skirts.


They modified their school sailor uniforms by adding long skirts, and similar to bosozoku, they often added embroidery of gang names and slogans as well, along with embroidery of roses. They carried razors and chains hidden in their skirts, as well as carried cigarettes and umbrellas. They also wore surgical masks. Like yankii, they also bleached and dyed their hair, especially blonde. Thin and extreme eyebrows were also representative of the sukeban aesthetic.


Sneakerhead Culture

Fig 1.20 Sneakerhead collection of shoes

Sneaker collectors and hobbyists go far beyond athletics. It is a “lifestyle” whereas those inside this subculture will collect, trade, and display or wear sneakers with specific designs from various name brands. The shoes collected by these hobbyists began with basketball shoes, but later developed with the addition of brands including shoes created for skateboarding as well. 

The origin of sneaker culture in the USA can be linked back to the 1980s, when Michael Jordan’s Air Jordan shoe line emerged in 1985. These sneakers began a collecting community, and the hip-hop movement made these shoes a status symbol, which further encouraged the community to boost in popularity. The sneakerhead subculture originally became popular with the black youth and white skateboarders in the US. 

The sneakerhead subculture emerged in the UK as well as Czech Republic by the start of the 2020s. 

The brands that are popular among the collectors include but are not limited to; Air Jordans, Air Force Ones, Nike Dunks, Nike Skateboarding, and the Yeezy line. There are shoes that have more or less value amongst collectors, and a lot of aspects go into this, such as aesthetics, materials, and designers. Sneakerhead culture has their own collection of slang as well, with terms used to describe the shoes being resold and talked about. Many terms in the sneakerhead slang are also used by skaters and basketball fans. 

Sneakerhead fashion goes hand in hand with streetwear, but the sneakers themselves are the status symbol, so there aren’t any notable fashion styles that display that someone is apart of the sneaker collecting community. More often than not nowadays, sneakerheads show their presence online. 

While the US has a more pronounced sneakerhead subculture, Malaysian sneaker collectors are just as passionate and engaged in the lifestyle. 

Sneakerhead culture has become part of the mainstream when it comes to the Kuala Lumpur streetwear scene. Many stores have opened up, by and for sneakerheads among the capital city alone. “Special” sneakers became a ‘passion investment’ for many people. 

Even so, nowadays in Malaysia, it has been said by long-time sneakerheads that a lot of those participating in the subculture at the moment are looking to resell. It grew from a passion project for many people to an opportunity to make a “quick buck.” “Collectors” will invest in expensive shoes from limited series or sought for brands and resell them later at a higher price when the rarity spikes. 


Mamak in Malaysia
Fig 1.21 Mamak stalls


Mamak food stalls are the cornerstones of Malaysian street food culture. Created by the Indian Muslim community in Malaysia, mamak stalls are roadside open-air eateries that primarily sell Malay Indian food. These are places where all locals can gather to eat, drink, talk, and watch live football matches on TV screens. Open 24 hours a day, mamak stalls are more than just food outlets, as these are places that offer refuge for Malaysians who want to satisfy their cravings and be part of a fun and food-loving local community.


The word “mamak” is derived from the term for maternal uncle in the Tamil language, “maa-ma”. It is also used as a way to respectfully greet older male shopkeepers.With centuries worth of Malay, Chinese, and Indian culinary influence, the mamak stall is essentially a melting pot of various cultures, offering an assortment of food that has harmoniously integrated local and imported ingredients and cuisine. Diners can enjoy Chinese-style fried rice, Malay-style dishes like Nasi Lemak, Indian food like Vadai, and even Yemeni-style Shawarma and Thai Tom Yum Goong, usually accompanied by a glass of teh tarik, or pulled tea, the nation’s favorite drink. All of the stalls are generally halal (adhering to Muslim dietary requirements), so there’s no pork or alcohol on the menu. Typically the locals including Chinese and Malays sometimes call the Mamaks, “Ah neh”, which means “big brother” as a mark of respect. The Malays, address them as “Bang” which is the short form of “Abang”, which also means “big brother” in Malay.


Mamak stalls are found almost everywhere throughout Malaysia. In city centers like Kuala Lumpur and Petaling Jaya, mamak stalls cater to residents 24/7, so it has become the favorite place for people from all walks of life, from workers taking their 9-to-5 breaks to partygoers who want a quick late-night food trip. The mamak culture is very popular among young adults and teenagers, who find mamaks safe places to hang out with friends at night, and find the food and drinks very affordable and tasty. Malaysians are always on the lookout for great places, and the perfect spot for the night is impossible to miss. Modern mamak stalls have a café style layout, furnished with decent seating arrangements and televisions sets to allow customers to watch the latest TV shows and sports programs as they dine.


The mamak stalls are very trendy among Malaysian night goers. Instead of hanging out at a pub or watering hole, Malaysians prefer to visit these stalls, where foldable tables and chairs await them along the sidewalks, and some even taking over parking spaces. Some of the bigger and more popular stalls can fill up the whole street with hundreds of people.


Additionally, mamak stalls are places where the spirit of football is alive. Whenever there’s a game, football fans gather around TV sets, and more recently on projector screens, to watch the game. A football night in a mamak stall is comparable to a stadium atmosphere, with crowds cheering loudly for their favorite clubs and players. On important game nights, plastic chairs and tables would be set up along the sidewalks, with patrons spilling into the streets.



PROPOSAL IDEATION
After all the research we did for the ideas that we came up. We decided to narrow it down by voting and the winning topic is the Skate Culture.

Then we proceeded to do the proposal!

Our leader divide the tasks among the team mates. But first we all did our own research on the skate culture and additional information to help develop our understanding of the topic. Then some of us did came up with a couple of ideas. Informational video on skate culture, a big poster (mural like) poster and also deck designs.

I was tasked to do research on deck arts and famous artists for deck arts.


I got lots of information regarding the artist that dwells within the skate community form researching on deck arts' artists. 
These are some ideas from our discussion and groupwork:
Fig 1.22 Poster Design Idea

A young subculture known as skateboarding places a strong emphasis on risk-taking and self-expression. The popularity of this unusual sport, which is currently ranked among the top 10 sports, is rising. Skaters value freedom, risk, and creativity. Skaters have a natural tendency to "be yourself." Skaters can interact and create new and distinctive styles, practices, and identities while upholding the ideas of freedom, taking risks, and "self-control." 

Bystanders and outsiders frequently dread this independence because of the significant risk of injury it presents. Image of disorder and uncontrol. The continuous commitment of skateboarders to the growth of the sport as a whole is well known. Mutual respect underpins the community; skaters frequently support their peers instead of one another and are accepting of one another's differences. 

Skateboarding do not have an organizations or team sports like other well known sports do. Even lots of people doesn't count skate as a sport. Skate is a free sport as in there are no rigid rules so you are free to challenge yourself. Skateboarding is a way of life and thought. Skateboarders have a "I'll do what I want" mentality, which is evident in the way that each one of them values their uniqueness. Skating is a calling to express oneself via the sport, not merely a means of learning new abilities.


Fig 1.23 Poster Idea (Mural)


Fig 1.24 Video or Motion Infographic Idea


Fig 1.24,25,26 Deck Art Ideas

Skate culture embraces diversity, social justice, community and togetherness. Recently more and more women and LGBTQ+ have joined skate culture because it is so accepting and embraces people of all backgrounds, especially marginalized people. The idea was to make a physical installment that lines up 3-5 different skateboards with different designs--each skateboard represents one group (eg. 1 board shows black culture, 1 board shows LGBT, 1 board shows women empowerment, etc) and they are arranged in a way to show togetherness and unity between all these communities because they came together because of skate.


Fig 1.27 Slides Presentation for Proposal

FEEDBACK

Presentation Day Feedback:

The overall ideas that we wanted to do is something that have been seen before, do not have the wow factor or uniqueness to it. It lacks, only face value and does not go any deeper. How does it relate to visualism? Making the connection between the reasoning why we chose this topic and the art itself is still a work in progress. Maybe we can look at the skate culture and graffiti or mural a little deeper and explore that part.

REFLECTION

Obviously I learn alot!

From doing group works to the things I learn about cultures. 
Group works can be exciting and exhausting at the same time, but I like it personally :) It is all about knowing your job and open to help your team mates. Do not only care about your part but do help them if they face trouble.

In regards of researching about culture, I learned that culture can be ethnicity culture,, but also culture that were formed by certain movements or reaction of a certain big phenomenon. Also, the same culture or subculture title can be different in neighboring country, such as punk culture in Malaysia and US may be different. Or culture can develop into a new culture if it is naturalized to a different region or country.