Looking at the wall, I saw the world! This is how this dissertation starts, a research
willing to rediscover those artists who inscribe themselves on the streets, on the skin
walls of a supporting city. Four graffiti artists from the Cosp Tinta Crew, George,
Marcelo Bokão, Edpaulo and Fábio Graf, those who, within their personal differences,
create spaces on the plots which get cross linked alongside the graffiti universe of
Belém do Pará. Discovering how those "Manus" (kind of slang among the artists,
meaning "Guys") get crossed, completed and inscribe the poetic trails of their jobs was
one of the aims reached; it was evidenced how the aesthetic-artistic knowledge
enlarged and enabled those lads to be seen as well-known artists by their fellows and
allowed the oncoming of the universe of the theoretical realities with the practical
reality, from the teaching of graffiti to the living of it. In order to do so, it was needed
to highlight the speech and opinions from the "manus", allowing them to choose the
images which represented them and interfered in the inscriptions aesthetically,
showing to the academy as well as through it, that these youngsters have identity in
their traits and drawings, without either the aspiration of decoding them or analyzing
the meaning of their "jobs". Authors like Jan Christian Smuts, with the concept of the
holistic view; Oswald de Andrade and Michel Melamed, with the concepts of the
Manifesto Antropofágico e Regurgitofagia (Anthropophagic Manifest and
"Regurgitofagia"); distant-experience and close-experience, from Clifford Geertz; Leda
Guimarães and Romulo Avelar, with their concepts of writings in a dissertation in Arts
are some of the theoretical support which allowed the development of a pleasant
research and close to reality, not only to the graffiti artists but also to the schools I work
as an Arts teacher. Nevertheless, in order to build up this bridge, it is necessary to
fortify the crews’ basis which spread throughout the city; the academy and its
researches are fundamental support sources in order to do so. In these aspects, we
are led to credit that this paper, of academic character, cannot be limited to the
university academic range only. It was realized aiming at the posture of authorrecognition,
enlarging the possibility that graffiti artists identify themselves in it and get
closer and closer to the academy, in constant exchanges.
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