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‫ﺍﻟﻘﻮﺓﻟﻠﺸﻌﺐ‪ :‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻛﻮﻛﺎﻟﺔ ﻟﻠﺘﻐﻴﻴﺮ‬

‫ﻣﺸﺮﻭﻉ‬
‫ﺗﻢﺗﻘﺪﻳﻤﻪ ﺇﻟﻰ ﻛﻠﻴﺔ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﻠﻴﺎ‬
‫ﻣﻦﺟﺎﻣﻌﺔ ﻣﻴﻨﻴﺴﻮﺗﺎ‬
‫ﺑﻮﺍﺳﻄﺔ‬

‫ﻛﺮﻳﺴﺘﻴﻨﺎﻣﺎﺭﻱ ﻏﻠﻴﺘﻮﻥ‬

‫ﻓﻲﺍﻻﺳﺘﻴﻔﺎء ﺍﻟﺠﺰﺉﻲ ﻟﻠﻤﺘﻄﻠﺒﺎﺕ‬

‫ﻟﻠﺤﺼﻮﻝﻋﻠﻰ ﺩﺭﺟﺔ ﺍﻟﻤﺎﺟﺴﺘﻴﺮ‬
‫ﻓﻲﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻠﻴﺒﺮﺍﻟﻴﺔ‬

‫ﺍﻏﺴﻄﺲ‪2012‬‬
‫© ﻛﺮﻳﺴﺘﻴﻨﺎ ﻣﺎﺭﻱ ﻏﻠﻴﺘﻮﻥ‪2012 ،‬‬
‫ﻷﻭﻟﺉﻚﺍﻟﺬﻳﻦ ﻳﺼﻨﻌﻮﻥ ﺃﺣﻼﻣﻬﻢ ﺍﻟﺨﺎﺻﺔ‪.‬‬

‫ﺃﻧﺎ‬
‫"ﺇﺫﺍ ﻏﻴﺮﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺃﻱ ﺷﻲء‪ ،‬ﻓﺈﻧﻬﺎ ﺳﺘﻜﻮﻥ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻴﺔ‪".‬‬

‫‪-‬ﺑﺎﻧﻜﺴﻲ‬

‫ﺛﺎﻧﻴﺎ‬
 ‫ﻣﺤﺘﻮﻳﺎﺕ‬

‫ﻗﺎﺉﻤﺔﺍﻟﺮﺳﻮﻡ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ‪ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬ﺭﺍﺑﻌﺎ‬

‫ﻣﻘﺪﻣﺔ ‪. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬ﺍﻟﺨﺎﻣﺲ‬

‫ﺷﻜﺮﻭﺗﻘﺪﻳﺮ ‪ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬ﺍﻟﺴﺎﺩﺱ‬

‫ﺍﻟﻔﺼﻞ‬

‫‪1‬ﺍﻟﻤﻘﺪﻣﺔ ‪1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪ -2‬ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺇﻟﻰ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪ -3‬ﺗﺴﻠﻴﻢ ﺍﻟﺮﺳﺎﻟﺔ ‪15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪ -4‬ﺃﺳﻮﺍﺭ ﺍﻟﻤﺪﻳﻨﺔ ﻛﻘﻤﺎﺵ ‪21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪ —5‬ﺇﻋﺎﺩﺓ ﺗﻌﺮﻳﻒ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ‪39 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪ –6‬ﺍﻟﺠﺮﻳﻤﺔ ﻭﺍﻟﻔﻦ ﻭﺍﻟﺘﺨﺮﻳﺐ ﻭﺧﺪﻣﺔ ﺍﻟﻤﺠﺘﻤﻊ ‪46 . . . . . . . . . . . .‬‬

‫‪50. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬ ‫‪-7‬ﺗﻌﻤﻴﻢ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫‪54. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬ ‫‪ -8‬ﻣﻠﺨﺺ ﻭﺍﺳﺘﻨﺘﺎﺟﺎﺕ‬

‫ﺑﺒﻠﻴﻮﻏﺮﺍﻓﻴﺎ ‪58. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫ﺛﺎﻟﺜﺎ‬
 ‫ﺍﻟﺮﺳﻮﻡﺍﻟﺘﻮﺿﻴﺤﻴﺔ‬

‫‪ -1‬ﻋﻼﻣﺎﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪ -2‬ﻗﺼﻒ ﻗﻄﺎﺭ ﻣﺪﻳﻨﺔ ﻧﻴﻮﻳﻮﺭﻙ ﺑﺎﻟﻜﺘﺎﺑﺎﺕ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪ -3‬ﻣﺸﺮﻭﻉ ﺃﻭﻏﻮﺳﺘﻮ ﻭﺩﻳﻼﻓﻮﻳﻨﺘﻲ ‪6‬ﺇﻣﻴﻠﻴﺎ‪13 . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪" -4‬ﺍﺣﺘﺮﻡ ﺍﻟﻮﺟﻮﺩ ﺃﻭ ﺗﻮﻗﻊ ﺍﻟﻤﻘﺎﻭﻣﺔ" ﺑﻘﻠﻢ ﻛﻴﺰﺭ‪25 . . . . . . . . . . . . . . . .‬‬

‫‪-5‬ﺟﺪﺍﺭﻳﺔ ﺷﺎﺭﻉ ﻣﺤﻤﺪ ﻣﺤﻤﻮﺩ ‪26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪-6‬ﺑﻴﻜﺴﺎﺳﺎﻭ ﻓﻲ ﺳﺎﻭ ﺑﺎﻭﻟﻮ ‪28 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪ –7‬ﺑﻴﻜﺴﺎﺳﺎﻭ ﻓﻲ ﺳﺎﻭ ﺑﺎﻭﻟﻮ )‪29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2‬‬

‫‪" -8‬ﺍﺗﺒﻊ ﺃﺣﻼﻣﻚ )ﻣﻠﻐﺎﺓ(" ﻟﺒﺎﻧﻜﺴﻲ‪31 . . . . . . . . . . . . . . . . . . . .‬‬

‫‪-9‬ﺑﺎﻧﻜﺴﻲ ﻋﻠﻰ ﺣﺎﺟﺰ ﺍﻟﻀﻔﺔ ﺍﻟﻐﺮﺑﻴﺔ‪32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪33. . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬ ‫‪"-10‬ﺍﻣﺮﺃﺓ ﺫﺍﺕ ﻗﻨﺎﻉ ﻏﺎﺯ" ﻟﻠﻔﻨﺎﻥ ﺑﺎﻧﻜﺴﻲ‬

‫‪33. . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬ ‫‪" -11‬ﺿﺎﺑﻂ ﻣﻊ ﺭﺫﺍﺫ ﺍﻟﻄﻼء" ﻟﺒﺎﻧﻜﺴﻲ‬

‫‪"-12‬ﺳﺎﻣﻮ" ﻟﺒﺎﺳﻜﻴﺖ‪34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪" -13‬ﻃﺎﻋﺔ" ﺑﻘﻠﻢ ﺷﻴﺒﺮﺩ ﻓﻴﺮﻱ‪36 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫‪"-14‬ﺻﻮﺭ ﺍﻟﺠﺪﺍﺭ ﺍﻟﻔﺎﺻﻞ" ﺑﻘﻠﻢ ﺝ‪37 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬

‫ﺭﺍﺑﻌﺎ‬
 ‫ﻣﻘﺪﻣﺔ‬

‫ﺇﻥﺷﻐﻔﻲ ﺑﺎﻟﻔﻦ ﻭﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﺸﺨﺼﻲ ﺩﻓﻌﻨﻲ ﺇﻟﻰ ﻛﺘﺎﺑﺔ ﻫﺬﻩ ﺍﻷﻃﺮﻭﺣﺔ‪ .‬ﻛﻮﺍﺣﺪ ﻣﻦ ﺫﻟﻚ‬

‫ﺗﺴﻌﻰﺟﺎﻫﺪﺓ ﻟﻠﻌﺜﻮﺭ ﻋﻠﻰ ﺍﻟﺠﻤﺎﻝ ﺣﺘﻰ ﻓﻲ ﺃﻛﺜﺮ ﺍﻷﺷﻴﺎء ﺍﻟﻌﺎﺩﻳﺔ‪ ،‬ﻭﺃﻋﺘﻘﺪ ﺃﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻫﻮ ﺃﺣﺪ ﻫﺬﻩ ﺍﻷﺷﻴﺎء‬

‫ﺃﻧﻘﻰﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﻔﻨﻲ ﺍﻟﻤﻮﺟﻮﺩﺓ‪ .‬ﻻ ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﺗﻮﻗﻊ ﻣﻦ ﻛﻞ ﻣﻦ ﻳﻘﺮﺃ ﻫﺬﺍ ﺃﻥ ﻳﺸﺎﺭﻙ‬

‫ﺣﻤﺎﺳﻲﻟﻬﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‪ ،‬ﻟﻠﻌﺜﻮﺭ ﻋﻠﻰ ﻣﻌﻨﻰ ﺃﻋﻤﻖ ﻓﻲ ﺍﻻﺳﺘﻨﺴﻞ ﻋﻠﻰ ﺟﺪﺍﺭ ﻣﺪﻳﻨﺘﻬﻢ‪ ،‬ﺃﻭ‬

‫ﺍﺑﺘﺴﻢﻋﻨﺪﻣﺎ ﻳﻘﺮﺃﻭﻥ ﻋﻨﻮﺍﻧﺎً ﺭﺉﻴﺴﻴﺎً ﻋﻦ ﺃﺣﺪﺙ ﺃﻋﻤﺎﻝ ﺑﺎﻧﻜﺴﻲ‪ .‬ﻻ ﻳﺴﻌﻨﻲ ﺇﻻ ﺃﻥ ﺃﺗﻤﻨﻰ ﺃﻥ ﻳﻨﻈﺮﻭﺍ ﺇﻟﻴﻬﺎ‬

‫ﻣﺤﻴﻄﻬﻢﺑﻌﻴﻮﻥ ﻣﻔﺘﻮﺣﺔ‪ ،‬ﻭﻟﻮ ﻟﻠﺤﻈﺔ ﻭﺍﺣﺪﺓ ﻓﻘﻂ‪ ،‬ﺗﻮﻗﻔﻮﺍ ﻟﻤﺮﺍﻗﺒﺔ ﺍﻟﻌﻤﻞ ﺍﻟﻤﻮﺿﺢ ﻓﻴﻪ‬

‫ﺃﻣﺎﻣﻬﻢﻭﻳﺪﺭﻛﻮﻥ ﺃﻧﻪ ﻣﻦ ﺃﺟﻠﻬﻢ‪.‬‬

‫ﺍﻟﺨﺎﻣﺲ‬
 ‫ﺷﻜﺮﻭﺗﻘﺪﻳﺮ‬

‫ﻫﺬﺍﺍﻟﻤﺸﺮﻭﻉ ﻟﻢ ﻳﻜﻦ ﻣﻤﻜﻨﺎ ﻟﻮﻻ ﺩﻋﻢ ﺍﻟﻜﺜﻴﺮ ﻣﻦ ﺍﻟﻨﺎﺱ‪ .‬ﻛﺜﻴﺮ‬

‫ﺷﻜﺮﺍًﻟﻤﺴﺘﺸﺎﺭﺗﻲ‪ ،‬ﺭﻭﺯﻟﻲ ﺃﻭﻟﺘﺎﻥ‪ ،‬ﺍﻟﺘﻲ ﺳﺎﻋﺪﺗﻨﻲ ﻓﻲ ﺍﻟﺤﻔﺎﻅ ﻋﻠﻰ ﺗﺮﻛﻴﺰﻱ ﻭﻓﻬﻢ ﻛﻞ ﻣﺎ ﻳﺤﺪﺙ‬

‫ﺍﺭﺗﺒﺎﻙ‪.‬ﻭﺃﻳﻀﺎً‪ ،‬ﺷﻜﺮﺍً ﻟﺠﺎﻙ ﺟﻮﻧﺴﻮﻥ‪ ،‬ﻣﺪﺭﺏ ﺍﻟﻤﺸﺮﻭﻉ ﺍﻟﻨﻬﺎﺉﻲ‪ ،‬ﻋﻠﻰ ﻣﺮﻭﻧﺘﻪ ﻭﺧﺒﺮﺗﻪ‬

‫ﺍﻟﺼﺒﺮﺃﺛﻨﺎء ﺍﻟﻌﻤﻞ ﻣﻌﻲ ﻹﻛﻤﺎﻝ ﻫﺬﺍ ﺍﻟﻤﺸﺮﻭﻉ ﻟﻤﺴﺎﻓﺎﺕ ﻃﻮﻳﻠﺔ‪ .‬ﺷﻜﺮﺍ ﻟﻠﺠﺎﻣﻌﺔ‬

‫ﻣﻴﻨﻴﺴﻮﺗﺎﻭﺟﻤﻴﻊ ﺍﻟﻤﺪﺭﺑﻴﻦ ﺍﻟﺴﺎﺑﻘﻴﻦ ﺍﻟﺬﻳﻦ ﺳﺎﻋﺪﻭﻧﻲ ﻓﻲ ﺇﻛﻤﺎﻝ ﻫﺬﺍ ﺍﻟﺒﺮﻧﺎﻣﺞ ﺧﻼﻝ ﻋﺎﻡ‪ ،‬ﺃ‬

‫ﺍﻟﻌﻤﻞﺍﻟﻔﺬ ﺍﻟﺬﻱ ﻗﺎﻝ ﺍﻟﻜﺜﻴﺮﻭﻥ ﺃﻧﻪ ﻏﻴﺮ ﻣﻤﻜﻦ‪ .‬ﻭﺃﺧﻴﺮﺍ‪ ،‬ﻷﺣﺒﺎﺉﻲ ﺍﻟﺬﻳﻦ ﺗﺤﻤﻠﻮﺍ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ‬

‫ﻣﻌﻲ‪،‬ﺃﻗﺪﻡ ﺩﺍﺉﻤﺎً ﺍﻟﺘﺸﺠﻴﻊ ﻋﻠﻰ ﻃﻮﻝ ﺍﻟﻄﺮﻳﻖ ﻣﻦ ﺧﻼﻝ ﻛﻞ ﺍﻟﺪﻡ ﻭﺍﻟﻌﺮﻕ ﻭﺍﻟﻜﺜﻴﺮ‬

‫ﻭﺍﻟﻜﺜﻴﺮﻣﻦ ﺍﻟﺪﻣﻮﻉ‪.‬‬

‫ﺍﻟﺴﺎﺩﺱ‬
 ‫ﺍﻟﻔﺼﻞ‪1‬‬

‫ﻣﻘﺪﻣﺔ‬

‫ﺃﺻﺒﺤﺖﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﺨﺮﺳﺎﻧﻴﺔ ﺍﻟﺒﺎﺭﺩﺓ ﻟﻠﻤﺴﺎﺣﺎﺕ ﺍﻟﺘﻲ ﻧﺴﻜﻨﻬﺎ ﻟﻮﺣﺎﺕ ﺣﻴﺔ‪ .‬ﺑﻜﺎء‬

‫ﻟﻴﺘﻢﺳﻤﺎﻋﻬﺎ ﻛﻤﺎ ﻟﻮ ﺃﻧﻬﺎ ﻋﺎﺩﺕ ﺇﻟﻰ ﺍﻟﺤﻴﺎﺓ ﻣﻊ ﻛﻞ ﺭﺫﺍﺫ ﻣﻦ ﻋﻠﺒﺔ ﺍﻟﻬﺒﺎء ﺍﻟﺠﻮﻱ ﺃﻭ ﺍﻟﺘﻨﻌﻴﻢ‬

‫ﻋﻠﻰﺷﻜﻞ ﻣﻠﺼﻖ ﺃﻭ ﻣﻠﺼﻖ‪ ،‬ﻓﻬﻲ ﺑﻤﺜﺎﺑﺔ ﺍﻧﻌﻜﺎﺳﺎﺕ ﻷﻧﻔﺴﻨﺎ ﻭﻟﻠﻤﺪﻳﻨﺔ ﺍﻟﺘﻲ ﻧﻌﻴﺶ ﻓﻴﻬﺎ‪ .‬ﺍﻟﺒﻘﻊ‬

‫ﺍﻟﻠﻮﻥﻭﺍﻧﺤﻨﺎء ﺍﻟﺨﻄﻮﻁ ﺍﻟﺴﻮﺩﺍء ﺍﻟﺴﻤﻴﻜﺔ ﻳﺘﺤﺪﺙ ﺇﻟﻴﻨﺎ ﻛﻤﺎ ﻳﻮﺿﺢ ﻟﻨﺎ ﺷﻌﺮ ﻋﺼﺮﻧﺎ‬

‫ﺍﻟﻤﻨﺎﺥﺍﻟﺜﻘﺎﻓﻲ ﻭﺍﻟﺘﻌﻠﻴﻖ ﺍﻟﺴﻴﺎﺳﻲ ﻟﺤﻴﺎﺗﻨﺎ ﺍﻟﻴﻮﻣﻴﺔ‪ .‬ﺭﺳﺎﺉﻠﻬﻢ‪ ،‬ﺑﺼﻮﺕ ﻋﺎﻝ ﺟﺪﺍ ﻝ‬

‫ﻳﺘﻢﺗﺠﺎﻫﻠﻨﺎ‪ ،‬ﻣﻤﺎ ﻳﺠﻌﻞ ﺍﻟﻨﻈﺮ ﺇﻟﻰ ﺍﻷﺳﻔﻞ ﺃﺛﻨﺎء ﺍﻟﻤﺸﻲ ﺷﺒﻪ ﻣﺴﺘﺤﻴﻞ‪ ،‬ﻭﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ ﻳﺠﺒﺮﻧﺎ ﻋﻠﻰ ﺭﻓﻊ ﺃﺟﺴﺎﻣﻨﺎ‬

‫ﻋﻴﻮﻥﻭﻣﺮﺍﻗﺒﺔ ﻣﺤﻴﻄﻨﺎ‪.‬‬

‫ﻳﺘﻢﻭﺻﻒ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻋﻤﻮﻣﺎً ﻋﻠﻰ ﺃﻧﻬﺎ ﺃﻱ ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ‬

‫ﻓﻲﻣﻜﺎﻥ ﻋﺎﻡ ﺃﻭ ﺧﺎﺹ‪ .‬ﻋﺎﺩﺓ ًﻣﺎ ﻳﺘﻢ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻤﺼﻄﻠﺤﺎﺕ ﺑﺸﻜﻞ ﻣﺘﺮﺍﺩﻑ‪ ،‬ﻭﻟﻜﻨﻬﺎ ﺗﻌﻤﻞ‬

‫ﻳﻤﺘﻠﻚﻛﻞ ﻣﺼﻄﻠﺢ ﺻﻔﺎﺕ ﺗﻤﺜﻞ ﺍﺧﺘﻼﻓﺎﺕ ﻓﻲ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺪﻭﺍﻓﻊ ﻭﺍﻟﺴﻠﻮﻙ‬

‫ﻏﺎﻳﺔ‪.‬ﻳﺘﻢ ﻋﺮﺽ ﺍﻟﻔﻦ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ ﻣﻦ ﺧﻼﻝ ﻭﺳﺎﺉﻞ ﻣﺨﺘﻠﻔﺔ ‪ -‬ﺑﻤﺎ ﻓﻲ ﺫﻟﻚ ﺍﻟﻌﻼﻣﺎﺕ ﻭﺍﻟﻘﻄﻊ‪،‬‬

‫ﺍﻟﻨﺤﺖ‪،‬ﺍﻻﺳﺘﻨﺴﻞ‪ ،‬ﻓﻦ ﺍﻟﻤﻠﺼﻘﺎﺕ‪ ،‬ﺍﻟﺘﺪﺧﻞ ﺍﻟﻔﻨﻲ‪ ،‬ﻓﻼﺵ ﺍﻟﻐﻮﻏﺎء‪ ،‬ﻗﺼﻒ ﺍﻟﻐﺰﻝ‪ ،‬ﻭﺍﻟﺸﺎﺭﻉ‬

‫ﺍﻟﻤﻨﺸﺂﺕ‪.‬ﻳﻮﻓﺮ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‪ ،‬ﻏﻴﺮ ﺍﻟﻤﻘﻴﺪ ﺑﺎﻟﺸﻜﻞ ﺃﻭ ﺍﻟﻮﺳﻴﻂ ﺃﻭ ﺍﻟﺮﺳﺎﻟﺔ‪ ،‬ﺍﻟﺤﺮﻳﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ‬

‫ﻭﺑﻴﻨﻤﺎﻟﺪﻯ ﺍﻟﻔﻨﺎﻧﻴﻦ ﺩﻭﺍﻓﻊ ﻣﺘﻨﻮﻋﺔ ﻭﺭﺍء ﻣﺎ ﻳﺪﻓﻊ ﻋﻤﻠﻬﻢ‪ ،‬ﻓﺈﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﺗﻤﻴﻞﺇﻟﻰ ﺣﻤﻞ ﺭﺳﺎﺉﻞ ﺗﺨﺮﻳﺒﻴﺔ ﻗﻮﻳﺔ ﻟﻠﻨﺸﺎﻁ‪ .‬ﻳﺬﻛﺮ ﺟﺮﻳﺠﻮﺭﻱ ﺳﻨﺎﻳﺪﺭ ﻓﻲ ﻋﻤﻠﻪ‪،‬‬

‫ﺣﻴﺎﺓﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ :‬ﻣﺎ ﻭﺭﺍء ﺍﻟﻌﻼﻣﺔ ﻓﻲ ﻣﺘﺮﻭ ﺍﻷﻧﻔﺎﻕ ﺍﻟﺤﻀﺮﻱ ﻓﻲ ﻧﻴﻮﻳﻮﺭﻙﺃﻧﻪ "ﻓﻲ ﺣﻴﻦ ﺃﻥ ﺭﺩ ﺍﻟﻔﻌﻞ ]ﻝ‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ[ ﻣﻦ ﺍﻟﺠﻤﻬﻮﺭ ]ﺗﻜﻮﻥ[ ﺇﻳﺠﺎﺑﻴﺔ ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﻟﻜﻦ ﺭﺩ ﻓﻌﻞ ﻣﺠﻠﺲ ﺍﻟﻤﺪﻳﻨﺔ ]ﻟﻴﺲ[ ﻛﺬﻟﻚ" )‪ .(24‬ﻟﻢ ﻳﻜﻦ‬

‫ﻗﺒﻞﻭﻗﺖ ﻃﻮﻳﻞ ﻣﻦ ﺗﺤﻮﻳﻞ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺇﻟﻰ ﻣﺸﻜﻠﺔ ﺣﻀﺮﻳﺔ ﻳﺸﺎﺭﻙ ﻓﻴﻬﺎ ﺍﻟﻤﺴﺆﻭﻟﻮﻥ ﺍﻟﺤﻜﻮﻣﻴﻮﻥ‬

‫ﺭﺃﺕﻓﻲ ﺍﻟﻘﻀﺎء ﻋﻠﻴﻪ ﻭﺳﻴﻠﺔ ﻟﺘﺄﻣﻴﻦ "ﺍﻟﺘﺼﻮﺭ ﺑﺄﻥ ﺍﻟﺴﻴﺎﺳﻴﻴﻦ ﻗﺪ ﻋﺎﺩﻭﺍ ﺇﻟﻰ ﺍﻟﺴﻴﻄﺮﺓ"‬

‫)‪ .(25‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﺈﻥ ﻫﺬﺍ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺤﻞ ﻣﺸﻜﻠﺔ ﺍﻟﻤﻈﺎﻫﺮ ﻓﻘﻂ‪ ،‬ﻭﺳﻴﻜﻮﻥ ﻟﻪ ﺍﻷﺳﺒﻘﻴﺔ‬

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 ‫ﻋﻠﻰﺍﻟﺘﻐﻴﻴﺮﺍﺕ ﺍﻟﻬﻴﻜﻠﻴﺔ ﺍﻟﻔﻌﻠﻴﺔ ﺍﻟﺘﻲ ﻗﺪ ﺗﻘﻠﻞ ﻣﻦ ﺍﻟﻈﺮﻭﻑ ﺍﻟﺘﻲ ﺗﻨﺘﺞ ﺍﻟﺠﺮﻳﻤﺔ ")‪ .(25‬ﺍﻵﻥ‬

‫ﻳﻌﺘﺒﺮﺗﺨﺮﻳﺒﺎً ﻏﻴﺮ ﻗﺎﻧﻮﻧﻲ‪ ،‬ﻭﻫﻮ ﺍﺳﺘﻌﺎﺩﺓ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻔﻦ ﻏﻴﺮ ﺍﻟﻤﻌﺘﻤﺪ‬

‫ﻻﺗﺰﺍﻝ ﺗﺠﺴﺪ ﺷﻜﻼ ًﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻤﻘﺎﻭﻣﺔ ﺍﻟﺴﻴﺎﺳﻴﺔ ﺍﻟﺘﻲ ﺗﻌﻤﻞ ﻛﻘﻮﺓ ﺭﺉﻴﺴﻴﺔ ﻟﻠﺘﻐﻴﻴﺮ ﺃﻳﻀﺎً‬

‫ﻓﻌﻞﺗﻤﺮﺩ ﻓﻲ ﻧﻔﺴﻪ )‪ .(١٧‬ﺑﻌﺾ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻭﺃﻋﻤﺎﻟﻬﻢ ﺃﺻﺒﺤﺖ ﻋﺎﻟﻴﺔ‬

‫ﺗﺠﺎﺭﻳﺎًﻭﺳﺎﺉﺪﺍً‪ ،‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﺍﻵﺧﺮﻳﻦ ‪ -‬ﻭﺧﺎﺻﺔ ﺃﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ ﻳﺴﺘﺨﺪﻣﻮﻥ ﻓﻨﻬﻢ‬

‫ﺗﻮﺻﻴﻞﺭﺳﺎﺉﻞ ﻣﻨﺎﻫﻀﺔ ﻟﻠﺠﺸﻊ ﺃﻭ ﻣﻨﺎﻫﻀﺔ ﻟﻠﺸﺮﻛﺎﺕ ‪ -‬ﻻ ﻳﺰﺍﻝ ﻳﻨُﻈﺮ ﺇﻟﻴﻬﻢ ﻋﻠﻰ ﺃﻧﻬﻢ ﻣﺨﺮﺑﻮﻥ‪.‬‬

‫ﻛﻠﻤﺔﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻣﻦ ﺍﻹﻳﻄﺎﻟﻴﺔﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪,‬ﻭﻗﺪ ﺗﻢ ﺍﺳﺘﺨﺪﺍﻡ ﻣﻌﻨﻰ "ﺍﻟﺨﺪﺵ"‪.‬‬

‫ﻭﺻﻒﻣﺠﻤﻮﻋﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻟﺠﺪﺍﺭﻳﺔ ﺑﻤﺎ ﻓﻲ ﺫﻟﻚ ﻟﻮﺣﺎﺕ ﺍﻟﻜﻬﻮﻑ ﺍﻟﺘﻲ ﺗﻌﻮﺩ ﺇﻟﻰ ﻋﺼﻮﺭ ﻣﺎ ﻗﺒﻞ ﺍﻟﺘﺎﺭﻳﺦ ﻭﻣﺠﻤﻮﻋﺔ ﻭﺍﺳﻌﺔ ﻣﻦ‬

‫ﺍﻟﺮﺳﺎﺉﻞﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻟﺠﻨﺴﻴﺔ ﻭﺍﻟﻔﻜﺎﻫﻴﺔ ﻭﺍﻟﺘﻌﺮﻳﻔﻴﺔ ﺍﻟﺬﺍﺗﻴﺔ ﺍﻟﺘﻲ ﺗﻢ ﺧﺪﺷﻬﺎ ﻭﺭﺳﻤﻬﺎ ﻭ‬

‫ﺗﻢﻭﺿﻊ ﻋﻼﻣﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻋﺒﺮ ﺍﻟﺘﺎﺭﻳﺦ )‪ .(Castleman xi‬ﺗﻢ ﺍﻟﻌﺜﻮﺭ ﻋﻠﻰ ﻛﺘﺎﺑﺎﺕ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﺼﺨﻮﺭ ﺍﻟﻤﻨﺤﻮﺗﺔ‬

‫ﻣﺪﻳﻨﺔﺃﺑﻮ ﺳﻤﺒﻞ ﺍﻟﻤﺼﺮﻳﺔ ﺍﻟﻘﺪﻳﻤﺔ‪ ،‬ﻛﻤﺎ ﺗﻢ ﺍﻛﺘﺸﺎﻓﻬﺎ ﻓﻲ ﻣﺪﻳﻨﺔ ﺃﺑﻮ ﺳﻤﺒﻞ ﺍﻹﻳﻄﺎﻟﻴﺔ‬

‫ﺑﻮﻣﺒﻲ)ﺑﺎﺭﺛﻮﻟﻮﻡ ﻭﺳﻨﺎﻳﺪﺭ(‪ .‬ﺭﺳﺎﺉﻞ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻘﺪﻳﻤﺔ ﺗﻨﺎﻭﻟﺖ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻦ ﺍﻟﻤﺘﻊ‬

‫ﻣﻦﺍﻟﻄﻌﺎﻡ ﺇﻟﻰ ﺍﻟﻨﺼﺎﺉﺢ ﺣﻮﻝ ﺍﻟﺤﺐ ﻭﺍﻟﺼﺪﺍﻗﺔ )ﺑﺎﺭﺛﻮﻟﻮﻡ ﻭﺳﻨﺎﻳﺪﺭ(‪ .‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﺤﺪﻳﺜﺔ ﻫﻲ ﺃﻛﺜﺮ ﻣﻦ ﺫﻟﻚ‬

‫ﺍﻟﻮﻋﻲﺍﻟﺬﺍﺗﻲ ﻭﻣﻌﺮﻓﺔ ﺍﻟﻘﺮﺍءﺓ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻛﻮﺳﻴﻠﺔ ﻟﻠﺘﻔﻜﻴﺮ ﻓﻲ ﺍﻟﺸﺆﻭﻥ ﺍﻟﺠﺎﺭﻳﺔ ﻭﺍﻟﺒﺤﺚ ﻓﻲ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻘﺪﻳﻤﺔ‬

‫ﻛﺸﻔﺖﺃﻧﻬﺎ ﻛﺎﻧﺖ ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﺑﺬﻳﺉﺔ ﻓﻲ ﻟﻬﺠﺘﻬﺎ )ﺑﺎﺭﺛﻮﻟﻮﻡ ﻭﺳﻨﺎﻳﺪﺭ(‪.‬‬

‫ﺑﺪﺃﺕﺍﻟﻤﺮﺍﺣﻞ ﺍﻷﻭﻟﻰ ﻟﻤﺎ ﻳﻌﺮﻑ ﻓﻲ ﻳﻮﻣﻨﺎ ﻫﺬﺍ ﺑﻔﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﻓﻲ ﺳﺘﻴﻨﻴﺎﺕ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ ﺍﻟﺠﺪﻳﺪﺓ‬

‫ﻣﺪﻳﻨﺔﻳﻮﺭﻙ ﻣﻊ ﻛﺘﺎﺑﺎﺕ ﺍﻟﻬﻴﺐ ﻫﻮﺏ‪ .‬ﺍﺳﺘﺨﺪﻡ ﺍﻟﺸﺒﺎﺏ ﺍﻟﻤﺘﻤﺮﺩﻭﻥ ﺭﺫﺍﺫ ﺍﻟﻄﻼء ﻭﺃﻗﻼﻡ ﺍﻟﺘﺤﺪﻳﺪ ﻟﻮﺿﻊ ﻋﻼﻣﺔ ﻋﻠﻰ ﺃﺳﻤﺎﺉﻬﻢ‬

‫ﺃﺳﻤﺎءﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻋﺮﺑﺎﺕ ﻣﺘﺮﻭ ﺍﻷﻧﻔﺎﻕ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻤﺪﻳﻨﺔ‪ .‬ﻭﻓﻘﺎ ﻟﺪﻳﻔﻮﻥ ﺑﺮﻭﻳﺮﺍﻟﻬﻴﺐ ﻫﻮﺏ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﺗﻘﻴﻴﻢﺍﻟﻜﺘﺎﺏ ﻻﺳﺘﺮﺍﺗﻴﺠﻴﺎﺕ ﻣﻜﺎﻓﺤﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻏﻴﺮ ﺍﻟﻘﺎﻧﻮﻧﻴﺔ‪"،‬ﻫﻨﺎﻙ ]ﻫﻨﺎﻙ[ ﺃﺭﺑﻊ ﻗﻴﻢ ﺭﺉﻴﺴﻴﺔ ﻓﻲ ﺍﻟﻮﺭﻙ‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ :‬ﺍﻟﺸﻬﺮﺓ ﻭﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﻔﻨﻲ ﻭﺍﻟﺴﻠﻄﺔ ﻭﺍﻟﺘﻤﺮﺩ ")‪ .(188‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻛﺎﻥ ﻫﺬﺍ ﻫﻮ ﺍﻟﻔﻌﻞ‬

‫ﻣﻦﺍﻟﻌﻼﻣﺎﺕ‪ ،‬ﻭﺍﻟﺘﻲ ﻳﺸﺎﺭ ﺇﻟﻴﻬﺎ ﺃﻳﻀﺎً ﺑﺎﺳﻢ "ﺍﻻﺳﺘﻴﻘﺎﻅ"‪ ،‬ﻭﺍﻟﺘﻲ ﺗﻢ ﺍﺳﺘﺨﺪﺍﻣﻬﺎ ﻓﻲ ﺍﻟﺒﺪﺍﻳﺔ ﻛﻮﺳﻴﻠﺔ ﻟﺘﺤﻘﻴﻖ ﺍﻟﺮﺑﺢ‬

‫ﺍﻟﺴﻤﻌﺔﻭﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﻟﺸﻬﺮﺓ ﻭﺍﻻﺣﺘﺮﺍﻡ ﺑﻴﻦ ﺯﻣﻼﺉﻬﻢ ﻓﻨﺎﻧﻲ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ‪ ،‬ﺍﻟﺬﻳﻦ ﻳﺸﻴﺮﻭﻥ ﺇﻟﻰ ﺃﻧﻔﺴﻬﻢ ﺑﺎﺳﻢ‬

‫ﺍﻟﻜﺘﺎﺏ‪.‬ﻭﺳﺮﻋﺎﻥ ﻣﺎ ﺗﻄﻮﺭﺕ ﺛﻘﺎﻓﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻔﺮﻋﻴﺔ ﻣﻦ ﺍﻟﺘﻮﻗﻴﻌﺎﺕ ﺍﻟﻤﻜﺘﻮﺑﺔ ﺑﺎﻟﺴﺤﺮ‬

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 ‫ﻋﻼﻣﺎﺕﻟﺼﻴﺎﻏﺔ ﺭﻭﺍﺉﻊ ﻣﺼﻨﻮﻋﺔ ﺑﺄﻟﻮﺍﻥ ﻣﺘﻌﺪﺩﺓ ﻣﻦ ﺍﻟﻬﺒﺎء ﺍﻟﺠﻮﻱ ﻓﻲ ﻇﻼﻡ ﺍﻟﻠﻴﻞ‪.‬‬

‫)ﺳﻨﺎﻳﺪﺭ ‪ (24‬ﻳﺸﺎﺭ ﺇﻟﻴﻬﺎ ﺑـ “ﺍﻟﻘﻄﻊ”‪ .‬ﻫﺬﻩ ﺍﻟﻘﻄﻊ ﻛﻤﺎ ﻭﺻﻔﻬﺎ ﻟﻴﻮﻧﺎﺭﺩ ﻛﺮﻳﺠﻞ ﻓﻲ ﻛﺘﺎﺑﻪ "ﺍﻟﺠﺮﺍﻓﻴﺘﻲ"‪:‬‬

‫"ﻣﻼﺣﻈﺎﺕ ﻧﻔﻖ ﺃﺣﺪ ﺳﻜﺎﻥ ﻧﻴﻮﻳﻮﺭﻙ" ﻛﺎﻧﺖ ﻋﺒﺎﺭﺓ ﻋﻦ ﺗﻌﺒﻴﺮﺍﺕ ﻓﻨﻴﺔ ﺭﺍﺉﻌﺔ "ﻣﻠﻴﺉﺔ ﺑﺎﻷﺷﻜﺎﻝ ﺍﻟﻤﺘﻌﺮﺟﺔ ﻭﺍﻷﺷﻴﺎء"‪.‬‬

‫ﺧﻄﻮﻁﻣﺎﺉﻠﺔ ﻣﺘﻔﺠﺮﺓ‪ ،‬ﻣﺘﻌﺮﺟﺔ ﺇﻟﻰ ﻓﻮﺿﻰ ﺑﺼﺮﻳﺔ ﺗﺸﻬﺪ ﻋﻠﻰ ﺣﺐ ﺍﻟﻠﻮﻥ ﻭﺍﻟﺨﻂ" )‪.(432‬‬

‫ﻋﻨﺪﻣﺎﺑﺪﺃ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻓﻲ ﺍﻟﺘﻄﻮﺭ ﻭﺍﻟﺘﻄﻮﺭ‪ ،‬ﻛﺬﻟﻚ ﺑﺪﺃ "ﺇﺣﺴﺎﺳﻪ ﺑﺎﻟﻬﺪﻑ" )‪ .(Castleman 19‬ﻻ‬

‫ﻟﻢﻳﻌﺪ ﺍﻟﻜﺘﺎﺏ "ﻳﻜﺘﻔﻮﻥ ﺑﻜﺘﺎﺑﺔ ﺃﺳﻤﺎﺉﻬﻢ ﺑﺒﺴﺎﻃﺔ"‪ ،‬ﻭﻟﻜﻦ ﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ‪" ،‬ﻳﺮﺍﻓﻘﻮﻧﻬﻢ"‪.‬‬

‫ﻳﻌﻤﻞﻣﻊ ﺍﻟﺮﺳﺎﺉﻞ" )‪ (40‬ﺍﻟﺘﻲ ﻗﺪﻣﺖ ﺗﻌﻠﻴﻘﺎً "ﻋﻠﻰ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﺤﺎﻟﻴﺔ" )‪(43‬‬

‫ﺇﺟﺒﺎﺭﺍﻟﻤﺎﺭﺓ ﻋﻠﻰ ﻓﺤﺺ ﺍﻷﺷﻴﺎء ﻭﺍﻟﺘﺴﺎﺅﻝ ﻋﻨﻬﺎ )ﻓﻴﺮﺍﻧﺖ(‪.‬‬

‫ﺍﻟﺸﻜﻞﺍﻟﻔﻨﻲ "ﻳﻐﺎﺯﻝ ﻓﻲ ﺃﻋﻴﻦ ﺍﻟﺠﻤﻬﻮﺭ"‪ ،‬ﻛﻤﺎ ﻟﻮ ﻛﺎﻥ ﻣﺨﺘﺒﺉﺎً ﻋﻠﻰ ﻣﺮﺃﻯ ﻣﻦ ﺍﻟﺠﻤﻴﻊ‪" ،‬ﻳﻜﺸﻒ ﻛﻞ ﺷﻲء"‬

‫ﺑﻴﻨﻤﺎﺗﻤﻜﻨﺖ ﺑﻄﺮﻳﻘﺔ ﻣﺎ ﻣﻦ ﻋﺪﻡ ﺍﻟﻜﺸﻒ ﻋﻦ ﺍﻟﻜﺜﻴﺮ )ﻣﺎﻛﺪﻭﻧﺎﻟﺪ ‪ .(2‬ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ‪:‬‬

‫ﻻﻧﺪﺭﻙ ﺃﻥ ﺃﺳﻮﺍﺭ ﺍﻟﻤﺪﻳﻨﺔ ﺗﻨﺒﺾ ﺑﺎﻟﺤﻴﺎﺓ ﺑﺪﺭﺍﻣﺎﻫﺎ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻻ ﻧﺴﻤﻊ‬

‫ﺍﻟﺘﻌﻠﻴﻘﺎﺕﺍﻟﻤﻌﻘﺪﺓ ﺍﻟﺘﻲ ﻳﺘﻌﻴﻦ ﻋﻠﻴﻬﻢ ﺗﻘﺪﻳﻤﻬﺎ ﻟﻨﺎ ﺣﻮﻝ ﺍﻟﺤﻴﺎﺓ ﻭﺍﻟﻌﻼﻗﺎﺕ ﻭﺍﻷﺣﺪﺍﺙ‬

‫ﻫﻮﻳﺎﺕﺍﻟﺬﻳﻦ ﻛﺘﺒﻮﻫﺎ‪ .‬ﻭﻟﻤﺎﺫﺍ ﻳﺠﺐ ﺃﻥ ﻧﻬﺘﻢ ﺃﺻﻼ؟ً ﻷﻥ ﻫﺬﺍ‬

‫ﺍﻟﺪﺭﺍﻣﺎ‪،‬ﻫﺬﻩ ﺍﻟﺘﻌﻠﻴﻘﺎﺕ ﻭﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻔﺮﻋﻴﺔ ﺍﻟﻨﺎﺑﻀﺔ ﺑﺎﻟﺤﻴﺎﺓ ﺍﻟﺘﻲ ﺗﻜﻤﻦ ﻭﺭﺍءﻫﺎ ﻟﻬﺎ ﻃﺎﺑﻊ ﺧﺎﺹ‬

‫ﺍﻟﻜﺜﻴﺮﻟﺘﺨﺒﺮﻧﺎ ﺑﻪ ﻋﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺘﻲ ﻧﻌﻴﺶ ﻓﻴﻬﺎ ﻭﺑﻌﺾ ﺍﻷﺷﺨﺎﺹ ﺍﻟﺬﻳﻦ ﻳﺸﺎﺭﻛﻮﻧﻬﺎ‬

‫ﻣﻌﻨﺎ‪(2).‬‬

‫ﺇﺫﺍً‪،‬ﻛﻴﻒ ﻳﻮﺻﻞ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻮﺿﻮﻋﺎﺕ ﺫﺍﺕ ﺻﻠﺔ ﺍﺟﺘﻤﺎﻋﻴﺎً‪ ،‬ﻭﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﺳﻴﺎﺳﻴﺔ ﺑﻘﻮﺓ‬

‫ﻟﻠﻌﺎﻣﺔ؟ﻛﻴﻒ ﺃﺛﺒﺖ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺃﻧﻪ ﺣﺎﻓﺰ ﻟﻠﺘﻐﻴﻴﺮ ﺍﻟﺴﻴﺎﺳﻲ ﻭﺍﻻﺟﺘﻤﺎﻋﻲ‪،‬‬

‫ﻭﻛﻴﻒﻳﻨﻌﻜﺲ ﺫﻟﻚ ﻓﻲ ﺍﻟﺜﻘﺎﻓﺎﺕ ﺍﻟﻤﺨﺘﻠﻔﺔ؟ ﻣﺎ ﻫﻲ ﺍﻟﺨﺼﺎﺉﺺ ﺍﻟﻤﻤﻴﺰﺓ ﻟﻔﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﻣﻤﺎﺃﺩﻯ ﺇﻟﻰ ﻗﺒﻮﻟﻪ‪ ،‬ﻭﻓﻲ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﺍﻟﺘﻘﺪﻳﺮ ﺍﻟﺠﻤﺎﻟﻲ ﺍﻷﻛﺜﺮ ﺟﺪﻳﺔ ﻟﻠﻔﻦ‬

‫ﺷﻬﺪﺕﺍﻟﻨﻤﻮﺫﺝ؟‬

‫ﺳﻮﻑﺗﺴﺘﻜﺸﻒ ﻫﺬﻩ ﺍﻟﻮﺭﻗﺔ ﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﻟﺘﻄﻮﺭ ﺍﻟﺘﺪﺭﻳﺠﻲ ﻟﻔﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺮﻛﻴﺰ‬

‫ﻣﻜﺎﻧﺘﻬﺎﻓﻲ ﺍﻟﻤﺠﺘﻤﻊ ﻋﻠﻰ ﻣﺮ ﺍﻟﺴﻨﻴﻦ‪ .‬ﺳﺄﻗﻮﻡ ﺑﺎﻟﺘﺤﻘﻴﻖ ﻓﻲ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻻﺑﺘﺪﺍﺉﻲ ﻭﺍﻟﺜﺎﻧﻮﻱ ﻭﺍﻟﺜﺎﻟﺚ‬

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 ‫ﺍﻟﻤﺼﺎﺩﺭﺍﻟﻨﻘﺪﻳﺔ ﻭﺍﻟﻤﺮﺍﺟﻌﺎﺕ ﻭﺍﻟﺘﺤﻠﻴﻼﺕ ﻭﺍﻟﻨﻈﺮﻳﺎﺕ ﻭﺭﺍء ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‪ .‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺫﻟﻚ‪ ،‬ﺳﺄﺭﺍﻗﺐ‬

‫ﻋﻤﻞﻓﻨﻲ ﻟﻔﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﻤﺸﻬﻮﺭﻳﻦ ﺑﺎﻧﻜﺴﻲ )ﺇﻧﺠﻠﻴﺰﻱ(‪ ،‬ﻭﺟﺎﻥ ﻣﻴﺸﻴﻞ ﺑﺎﺳﻜﻴﺎﺕ )ﺃﻣﺮﻳﻜﻲ(‪ ،‬ﻭﺟﻴﻪ ﺁﺭ‬

‫)ﻓﺮﻧﺴﻲ(‪ ،‬ﻭﺷﻴﺒﺮﺩ ﻓﻴﺮﻱ )ﺃﻣﺮﻳﻜﻲ( ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﻣﻌﺎﺭﺽ ﻓﻨﻮﻥ ﺍﻟﺸﻮﺍﺭﻉ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .‬ﻭﺳﺄﺗﻮﻟﻰ ﺃﻳﻀﺎ‬

‫ﺩﺭﺍﺳﺔﺍﻟﻤﺠﻼﺕ ﻭﺍﻟﻨﺼﻮﺹ ﻭﺍﻷﻓﻼﻡ ﺍﻟﻮﺛﺎﺉﻘﻴﺔ ﻭﻣﻘﺎﻃﻊ ﺍﻟﻔﻴﺪﻳﻮ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﺤﺜﻴﺔ ﻟﻠﺸﻜﻞ ﺍﻟﻔﻨﻲ‬

‫ﺧﺒﺮﺍءﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻭﺍﻟﺒﺎﺣﺜﻴﻦ ﺍﻟﺴﻴﺎﺳﻴﻴﻦ ﻭﺍﻟﺜﻘﺎﻓﻴﻴﻦ‪.‬‬

‫ﻓﻲﻫﺬﺍ ﺍﻟﻤﺸﺮﻭﻉ‪ ،‬ﺳﺄﺭﻛﺰ ﻋﻠﻰ ﺍﻟﻄﺮﻕ ﺍﻟﺘﻲ ﺣﻔﺰﺕ ﺑﻬﺎ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﺍﻟﻌﻤﻞﺍﻟﻌﺎﻡ ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﻜﺸﺎﻑ ﻛﻴﻔﻴﺔ ﺍﺳﺘﺨﺪﺍﻡ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻓﻲ ﺃﻣﺮﻳﻜﺎ ﻭﻣﺼﺮ ﻭﺍﻟﺒﺮﺍﺯﻳﻞ ﺑﺎﻋﺘﺒﺎﺭﻩ‬

‫ﻭﺳﻴﻠﺔﻟﺘﻤﻜﻴﻦ ﺷﻌﻮﺏ ﻫﺬﻩ ﺍﻟﺪﻭﻝ‪ .‬ﺳﻴﻜﻮﻥ ﻫﻨﺎﻙ ﺗﺎﺭﻳﺦ ﻣﻮﺟﺰ ﻟﻠﻔﻦ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ‬

‫ﺗﻨﺎﻭﻟﺖﺇﻳﻼء ﺍﻫﺘﻤﺎﻡ ﺧﺎﺹ ﻟﻠﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﺗﻄﻮﺭ ﺍﻟﻔﻦ ﻣﻦ ﻟﻴﺸﻤﻞ‬

‫ﻓﻦﺍﻟﺸﺎﺭﻉ ﻓﻲ ﺍﻟﻮﻗﺖ ﺍﻟﺤﺎﺿﺮ‪ .‬ﻣﻦ ﺍﻟﻤﻬﻢ ﺃﻥ ﻧﻼﺣﻆ ﺃﻥ ﺍﻟﻌﻘﺪ ﺍﻷﺧﻴﺮ ﻣﻦ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺳﻴﻮﻓﺮ‬

‫ﺍﻟﺴﻴﺎﻕﺍﻷﺳﺎﺳﻲ ﻟﻬﺬﺍ ﺍﻟﺘﺤﻠﻴﻞ‪ .‬ﺳﻴﻜﻮﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻷﻣﺮﻳﻜﻲ ﻫﻮ ﺍﻟﻤﺤﻮﺭ ﺍﻟﺮﺉﻴﺴﻲ‪ ،‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﺍﻷﻣﺜﻠﺔ ﻋﻠﻰ ﺫﻟﻚ‬

‫ﺳﻴﺘﻢﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ ﻭﻣﺼﺮ ﻟﺘﻘﺪﻳﻢ ﻣﺮﺍﺟﻊ ﻣﻘﺎﺭﻧﺔ‪ .‬ﺃﻣﺮﻳﻜﻲ‬

‫ﺳﻴﺘﻢﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻛﻤﺼﻄﻠﺢ ﻋﺎﻡ‪ ،‬ﻟﺘﻮﺿﻴﺢ ﻛﻴﻔﻴﺔ ﺗﻄﻮﺭ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺇﻟﻰ ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ‬

‫ﺍﻟﻔﻦﺍﻟﺘﺠﺎﺭﻱ ﺍﻟﺬﻱ ﻳﺘﻢ ﻋﺮﺿﻪ ﻓﻲ ﺍﻟﻤﺘﺎﺣﻒ‪ ،‬ﻋﻠﻰ ﻋﻜﺲ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﺘﻲ ﺗﻈﻬﺮ ﻛﺼﻮﺭﺓ‬

‫ﺍﻻﺳﺘﺠﺎﺑﺔﻟﻸﺯﻣﺎﺕ ﻭﺍﻻﺿﻄﺮﺍﺑﺎﺕ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﻜﺒﺮﻯ ﺍﻟﺘﻲ ﺗﺤﺪﺙ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‬

‫ﻋﺮﺿﺖﻓﻲ ﻣﺼﺮ ﻭﺍﻟﺒﺮﺍﺯﻳﻞ‪.‬‬

‫ﺇﻥﻓﺮﺿﻴﺔ ﻫﺬﺍ ﺍﻟﺘﺤﻘﻴﻖ ﻫﻲ ﺃﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻗﺪ ﺗﻄﻮﺭ ﻋﻠﻰ ﻣﺮ ﺍﻟﺴﻨﻴﻦ‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺣﺮﻛﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﻓﻨﻴﺔ ﺗﻐﻄﻲ ﺟﺪﺭﺍﻥ ﺍﻟﻤﺪﻥ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‬

‫ﺑﺄﺷﻜﺎﻟﻬﺎﺍﻟﻤﺨﺘﻠﻔﺔ‪ .‬ﻳﺴﺘﻤﺮ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻓﻲ ﺇﻳﺼﺎﻝ ﺍﻟﺮﺳﺎﺉﻞ ﻓﻲ ﺍﻟﺴﺎﺣﺔ ﺍﻟﻌﺎﻣﺔ‬

‫ﻓﻲﻣﺘﻨﺎﻭﻝ ﺍﻟﺠﻤﻴﻊ‪ ،‬ﻭﻳﻌﻤﻞ ﻛﺄﺩﺍﺓ ﻟﻠﺪﻋﻮﺓ ﻭﻋﻨﺼﺮ ﺃﺳﺎﺳﻲ ﻟﻠﺘﻔﻜﻴﺮ‬

‫ﻣﻦﺍﻟﻮﺟﻮﺩ ﺍﻹﻧﺴﺎﻧﻲ‪ .‬ﻭﻳﻈﻞ ﺃﺩﺍﺓ ﺍﺣﺘﺠﺎﺟﻴﺔ ﺣﻴﻮﻳﺔ ﻹﺣﺪﺍﺙ ﺍﻟﺘﻐﻴﻴﺮ ﺍﻻﺟﺘﻤﺎﻋﻲ‬

‫ﻣﺠﺘﻤﻌﺎﺕﻣﻦ ﺍﻟﻨﺎﺱ ﺍﻟﺬﻳﻦ ﻟﻴﺲ ﻟﺪﻳﻬﻢ ﺻﻮﺕ‪ .‬ﻓﻲ ﺣﻴﻦ ﺃﺻﺒﺢ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺳﺎﺉﺪﺍ ﻭ‬

‫ﻳﺘﻢﺗﺴﻮﻳﻖ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻓﻲ ﺑﻌﺾ ﺍﻟﺤﺎﻻﺕ‪ ،‬ﻭﻳﻘﺪﻡ ﺗﻌﺒﻴﺮﺍً ﻣﺮﺉﻴﺎً ﻋﻦ ﺍﻻﺣﺘﺠﺎﺝ‬

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‫ﻳﻤﻜﻦّﺃﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ ﻻ ﻳﻤﻜﻦ ﺇﺳﻜﺎﺗﻬﻢ ﻟﻔﺘﺮﺓ ﺃﻃﻮﻝ‪ ،‬ﻭﻣﻬﻤﺎ ﻛﺎﻧﺖ ﻓﺘﺮﺓ ﻭﺟﻴﺰﺓ ‪ -‬ﻓﺈﻥ ﺗﺤﻮﻝ ﺍﻟﺴﻠﻄﺔ ﻫﻮ ﺃﻳﻀﺎً‬

‫ﻋﻈﻴﻢﺃﻥ ﻳﺘﻢ ﺗﺠﺎﻫﻠﻬﺎ‪.‬‬

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 ‫ﺍﻟﻔﺼﻞ‪2‬‬

‫ﻣﻦﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺇﻟﻰ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﻋﻨﺪﻣﺎﻳﺘﻢ ﺫﻛﺮ ﻛﻠﻤﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﺗﺘﺒﺎﺩﺭ ﺇﻟﻰ ﺫﻫﻨﻲ ﺃﻓﻜﺎﺭ ﺍﻟﺤﺮﻭﻑ ﺍﻟﺘﻲ ﻻ ﻳﻤﻜﻦ ﺗﻤﻴﻴﺰﻫﺎ ﻭﺍﻟﻄﻼء ﺑﺎﻟﺮﺵ‬

‫ﻋﺎﺩﺓﻣﺎ ﻳﺘﺒﺎﺩﺭ ﺇﻟﻰ ﺍﻟﺬﻫﻦ‪ ،‬ﻭﻟﻜﻦ ﻇﻬﺮﺕ ﻋﺪﺓ ﺃﻧﻮﺍﻉ ﺟﺪﻳﺪﺓ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ ﻓﻲ ﺍﻟﺴﻨﻮﺍﺕ ﺍﻷﺧﻴﺮﺓ‬

‫ﺗﺸﻤﻞﺍﻻﺳﺘﻨﺴﻞ ﻭﺍﻟﻤﻠﺼﻘﺎﺕ ﻭﺍﻟﺘﻄﻮﺭﺍﺕ ﺍﻷﺧﺮﻯ ﺍﻟﺘﻲ ﺗﺴﻤﻰ ﺍﻵﻥ ﺑﻔﻦ ﺍﻟﺸﺎﺭﻉ‪ .‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭ‬

‫ﻳﺨﺘﻠﻒﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺣﺴﺐ ﺍﻟﺘﻘﻨﻴﺔ ﻭﻛﺬﻟﻚ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻳﺬﻛﺮ ﻧﻴﻜﻮﻻﺱ ﻏﺎﻧﺰ ﻓﻲ ﻛﺘﺎﺑﻪ‬

‫"ﻧﺴﺎء ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ :‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻦ ﺍﻟﻘﺎﺭﺍﺕ ﺍﻟﺨﻤﺲﺃﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ "ﺗﺨﻀﻊ ﺇﻟﻰ ﺣﺪ ﻛﺒﻴﺮ ﻟـ‬

‫ﺭﻏﺒﺔﻓﻲ ﻧﺸﺮ ﺍﻟﻌﻼﻣﺔ ﻭﻧﻴﻞ ﺍﻟﺸﻬﺮﺓ« )‪ .(١٠‬ﻳﻬﺘﻢ ﺍﻟﻜﺘﺎﺏ ﻛﺜﻴﺮﺍً ﺑﻔﻌﻞ‬

‫ﻭﺿﻊﺍﻟﻌﻼﻣﺎﺕ ﻭ"ﺍﻻﺳﺘﻴﻘﺎﻅ" ﻗﺪﺭ ﺍﻹﻣﻜﺎﻥ ﻣﻦ ﺃﺟﻞ ﺗﺮﺳﻴﺦ ﻋﻤﻠﻬﻢ ﺑﺸﻜﻞ ﺃﻓﻀﻞ ﻣﻦ‬

‫ﺍﻟﺠﻤﻴﻊ‪.‬ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻳﻤﻴﻞ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺇﻟﻰ ﺃﻥ ﻳﻜﻮﻥ ﻟﺪﻳﻪ ﻗﻮﺍﻋﺪ ﺃﻗﻞ ﻭﻳﺤﺘﻀﻦ ﺍﻟﻜﺜﻴﺮ‬

‫ﻧﻄﺎﻕﺃﻭﺳﻊ ﻣﻦ ﺍﻷﺳﺎﻟﻴﺐ ﻭﺍﻟﺘﻘﻨﻴﺎﺕ ")‪.(11‬‬

‫ﺗﺎﺭﻳﺦﻣﻮﺟﺰ ﻟﻠﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﺗﻢﺍﻟﻌﺜﻮﺭ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﺑﻌﺒﺎﺭﺍﺕ ﻋﺎﻣﺔ‪ ،‬ﻋﺒﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ :‬ﻣﻦ ﺍﻟﺼﻮﺭ ﺍﻟﻤﻨﺤﻮﺗﺔ ﻓﻲ‬

‫ﺃﺳﻮﺍﺭﻛﻬﻒ ﻻﺳﻜﻮ ﻓﻲ ﻓﺮﻧﺴﺎ ﺇﻟﻰ ﺍﻟﻤﺪﻥ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﻭﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻘﺪﻳﻤﺔ‪ .‬ﻓﻲﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ :‬ﺍﻟﺸﺎﺭﻉ‬

‫ﺍﻟﻔﻦﻣﻦ ﺍﻟﻘﺎﺭﺍﺕ ﺍﻟﺨﻤﺲﺑﻘﻠﻢ ﻧﻴﻜﻮﻻﺱ ﺟﺎﻧﺰ ﻭﺗﺮﻳﺴﺘﺎﻥ ﻣﺎﻧﻜﻮ‪,‬ﻳﺬﻛﺮ ﺃﻥ ﺍﻟﻌﻈﺎﻡ ﻭ‬

‫ﺍﺳﺘﺨُﺪﻣﺖﺍﻟﺤﺠﺎﺭﺓ ﻓﻲ ﺍﻟﻨﺤﺖ‪ ،‬ﻟﻜﻦ »ﺍﻟﺮﺟﻞ ﺍﻷﻭﻝ ﺍﺳﺘﺒﻖ ﺃﻳﻀﺎً ﺍﻻﺳﺘﻨﺴﻞ ﻭﺍﻟﺮﺫﺍﺫ‬

‫ﺗﻘﻨﻴﺔ"ﻣﻦ ﺧﻼﻝ" ﻧﻔﺦ ﻣﺴﺤﻮﻕ ﻣﻠﻮﻥ ﻣﻦ ﺧﻼﻝ ﺍﻟﻌﻈﺎﻡ ﺍﻟﻤﺠﻮﻓﺔ ﺣﻮﻝ ﻳﺪﻳﻪ ﻟﻴﺼﻨﻌﻬﺎ‬

‫ﺍﻟﺼﻮﺭﺍﻟﻈﻠﻴﺔ" )‪ .(8‬ﺃﻟﻘﺖ ﺍﻟﺤﻔﺮﻳﺎﺕ ﻓﻲ ﺑﻮﻣﺒﻲ ﺍﻟﻀﻮء ﻋﻠﻰ ﻋﺪﺩ ﻛﺒﻴﺮ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﺑﻤﺎ ﻓﻲ ﺫﻟﻚ‬

‫ﺷﻌﺎﺭﺍﺕﻟﻼﻧﺘﺨﺎﺑﺎﺕ ﺍﻟﻤﻘﺒﻠﺔ ﻭﺭﺳﻮﻣﺎﺕ ﻭﺃﻟﻔﺎﻅ ﺑﺬﻳﺉﺔ )‪ .(8‬ﻳﻼﺣﻆ ﺳﻴﺪﺍﺭ ﻟﻮﻳﺴﻮﻥ ﻓﻲ‬

‫ﻛﺘﺎﺑﻪ‪،‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ :‬ﺛﻮﺭﺓ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﺑﻴﻨﻤﺎ ﻧﻤﻴﻞ ﺍﻟﻴﻮﻡ ﺇﻟﻰ ﺭﺑﻂ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺑﻬﺎ‬

‫ﺍﻟﻤﻨﺎﻃﻖﺍﻟﺠﻐﺮﺍﻓﻴﺔ ﻟﻠﺘﺪﻫﻮﺭ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﻫﺬﺍ ﻟﻴﺲ ﻫﻮ ﺍﻟﺤﺎﻝ ﻋﻠﻰ ﺍﻹﻃﻼﻕ ﻓﻲ ﺑﻮﻣﺒﻲ‪ .‬ﺑﺪﻻ ﻣﻦ ﺫﻟﻚ‪“ ،‬ﻛﺎﻧﺖ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

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 ‫"ﻻ ﻳﻘﺘﺼﺮ ﻋﻠﻰ ﻣﻨﻄﻘﺔ ﻭﺍﺣﺪﺓ ﺃﻭ ﻓﺉﺔ ﻣﻌﻴﻨﺔ ﻣﻦ ﺍﻟﻤﺴﻜﻦ ﺍﻻﺟﺘﻤﺎﻋﻲ"‪ ،‬ﻭﻛﺎﻥ ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﺷﻌﺮﻳﺔ ﺑﻄﺒﻴﻌﺘﻬﺎ‬

‫ﻣﻊ"ﺃﻣﺜﻠﺔ ﻋﻠﻰ ﻗﺼﺎﺉﺪ ﺍﻟﺤﺐ ﺍﻟﻤﻜﺘﻮﺑﺔ ﻣﺒﺎﺷﺮﺓ ﻋﻠﻰ ﺟﺪﺭﺍﻥ ﺑﻴﻮﺕ ﺍﻟﻨﺎﺱ" )‪.(27‬‬

‫ﻟﻢﺗﻜﻦ ﻛﻞ ﺃﺷﻜﺎﻝ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺷﻌﺮﻳﺔ ﺑﻄﺒﻴﻌﺘﻬﺎ‪ .‬ﻓﻲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﺎﻧﺖ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺮﻭﻣﺎﻧﻲ ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ‬

‫"ﺍﺭﺗﺒﻄﺖ ﺑﺎﻟﺴﻴﺎﺳﺔ ﻭﻛﺎﻧﺖ ﻭﺳﻴﻠﺔ ﺷﺎﺉﻌﺔ ﻟﻠﺮﺩ ﻋﻠﻰ ﺍﻟﺴﻠﻄﺔ‪ .‬ﺃﺳﻮﺍﺭ ﺍﻟﻤﺪﻳﻨﺔ‬

‫ﻛﺎﻥﻣﻜﺎﻧﺎً ﻳﺴﺨﺮ ﻓﻴﻪ ﺍﻟﻨﺎﺱ ﻣﻦ ﺍﻟﺴﻠﻄﺎﺕ ﺃﻭ ﻳﺸﻜﻮﻥ ﻣﻨﻬﺎ" )‪.(27‬‬

‫ﺑﻌﺪﺩﻓﻦ ﺑﻮﻣﺒﻲ ﻋﺎﻡ ‪ 79‬ﻡ‪ ،‬ﻟﻢ ﻳﻜﻦ ﻣﻦ ﺍﻟﻤﺆﻛﺪ ﻣﺎ ﺍﻟﺬﻱ ﺃﺩﻯ ﺇﻟﻰ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻭﻟﻜﻦ ﻣﻦ ﺍﻟﻤﺆﻛﺪ‬

‫ﻭﻳﻘﺎﻝﺃﻧﻪ ﺑﻠﻎ ﺫﺭﻭﺗﻪ ﻓﻲ ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ )‪ .(٢٧‬ﻭﻳﻌﺘﻘﺪ ﺃﻥ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻛﺎﻥ ﻛﺬﻟﻚ‬

‫ﺳﺎﺉﺪﺓﻣﻦ ﺍﻟﻔﺘﺮﺓ ﺍﻟﻴﻮﻟﻴﺎﻧﻴﺔ ﺣﺘﻰ ﻋﻬﺪ ﻧﻴﺮﻭﻥ‪ .‬ﺧﻼﻝ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻮﺳﻄﻰ‪ ،‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﻳﺼﺒﺢﻣﺮﺉﻴﺎً ﻣﺮﺓ ﺃﺧﺮﻯ ﻭﻳﻮﺟﺪ ﺑﺸﻜﻞ ﺃﺳﺎﺳﻲ ﻋﻠﻰ ﺍﻟﺴﻄﺢ ﺍﻟﺨﺎﺭﺟﻲ ﻟﻠﻜﻨﺎﺉﺲ )‪ .(27‬ﺷﻜﺴﺒﻴﺮ‬

‫ﻳﻘﺪﻡﺍﻟﻮﻗﺖ ﺃﻳﻀﺎً ﺩﻟﻴﻼ ًﻋﻠﻰ ﺃﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻛﺎﻧﺖ ﺳﺎﺉﺪﺓ‪ .‬ﻭﻟﻢ ﻳﻜﻦ ﺣﺘﻰ ﺃﻭﺍﺧﺮ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ‬

‫ﺍﻟﻘﺮﻥﺃﻥ “ﺍﻟﺮﺃﻱ ﺍﻟﻌﺎﻡ ﺍﻧﻘﻠﺐ ﺿﺪ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ … ﺑﺴﺒﺐ ﺍﻟﻌﻼﻗﺔ ﺑﻴﻦ ﺍﻟﻌﻤﻞ‬

‫ﺍﻟﻄﺒﻘﺎﺕ‪،‬ﺍﻟﺬﻳﻦ ﻳﺘُﺼﻮﺭ ﺃﻧﻬﻢ ﻣﺆﻟﻔﻮ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻭﺍﻟﻨﺨﺒﺔ‪ ،‬ﺍﻟﺘﻲ ﺳﻴﻄﺮﺕ ﻋﻠﻰ ﺍﻟﺜﻘﺎﻓﺔ‬

‫ﺍﻹﻧﺘﺎﺝ" )‪ .(27‬ﺧﻼﻝ ﻫﺬﺍ ﺍﻟﻮﻗﺖ ﺃﺻﺒﺢ ﺍﻷﺷﺨﺎﺹ ﺫﻭﻭ ﺍﻟﻤﻜﺎﻧﺔ ﺍﻷﻋﻠﻰ ﺃﻗﻞ ﺗﻌﺎﻃﻔﺎً ﻣﻌﻬﻢ‬

‫ﺃﻭﻟﺉﻚﺍﻟﺬﻳﻦ ﻫﻢ ﺃﻗﻞ ﺭﺗﺒﺔ‪ ،‬ﻭ"ﺑﻌﺪ ﺍﻻﻫﺘﻤﺎﻡ ﺍﻟﺮﻭﻣﺎﻧﺴﻲ ﺑﺎﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ" ﻋﻤﻼً ﺇﺑﺪﺍﻋﻴﺎً ﺧﺎﻟﺼﺎً "‪ ،‬ﻇﻬﺮ ﺍﻻﻫﺘﻤﺎﻡ ﺍﻟﺮﻭﻣﺎﻧﺴﻲ ﺑﺎﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺑﺎﻋﺘﺒﺎﺭﻩ "ﻋﻤﻼً ﺇﺑﺪﺍﻋﻴﺎً ﺧﺎﻟﺼﺎً"‪.‬‬

‫ﻋﺎﺩﺍﻟﻔﻴﻜﺘﻮﺭﻳﻮﻥ ﺇﻟﻰ »ﺍﻟﻔﻦ ﺍﻟﺤﻘﻴﻘﻲ«‪ ،‬ﻭﻓﻘﺪﻭﺍ ﺍﻻﻫﺘﻤﺎﻡ ﺑﺎﻟﻔﻦ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﺘﻢ ﺇﻧﺘﺎﺟﻪ ﻓﻲ ﺍﻟﺸﻮﺍﺭﻉ« )‪.(٢٧‬‬

‫ﻇﻬﺮﺕﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺧﻼﻝ ﺍﻟﺤﺮﺏ ﺍﻟﻌﺎﻟﻤﻴﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻛﺄﺩﺍﺓ ﺍﺳﺘﺨﺪﻣﻬﺎ ﺍﻟﻨﺎﺯﻳﻮﻥ‬

‫ﻧﺸﺮﻭﺍﺩﻋﺎﻳﺘﻬﻢ‪ ،‬ﻭﻟﻜﻦ ﻓﻲ ﺍﻟﻐﺎﻟﺐ‪ ،‬ﻛﺎﻧﺖ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻣﻬﻤﺔ ﺃﻳﻀﺎً ﻟﻠﻤﻘﺎﻭﻣﺔ‬

‫ﺍﻟﺤﺮﻛﺎﺕﻛﻮﺳﻴﻠﺔ ﻟﻨﺸﺮ ﺍﺣﺘﺠﺎﺟﺎﺗﻬﺎ ﻟﻌﺎﻣﺔ ﺍﻟﻨﺎﺱ" )ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪.(8 ،‬‬

‫ﻣﺜﺎﻝﻋﻠﻰ ﺫﻟﻚ ﻫﻮ "ﺍﻟﻮﺭﺩﺓ ﺍﻟﺒﻴﻀﺎء"‪ ،‬ﻭﻫﻲ ﻣﺠﻤﻮﻋﺔ ﺃﻟﻤﺎﻧﻴﺔ ﻣﻦ ﻏﻴﺮ ﺍﻟﻤﻠﺘﺰﻣﻴﻦ ﺍﻟﺬﻳﻦ‪ ،‬ﺣﺘﻰ‬

‫ﺍﻟﻘﺒﺾﻋﻠﻴﻪ ﻓﻲ ﻋﺎﻡ ‪" ،1943‬ﺗﺤﺪﺙ ﺿﺪ ﻫﺘﻠﺮ ﻭﻧﻈﺎﻣﻪ ﻓﻲ ﻋﺎﻡ ‪ 1942‬ﻣﻦ ﺧﻼﻝ ﺍﻟﻤﻨﺸﻮﺭﺍﺕ ﻭﺍﻟﻤﺮﺳﻮﻣﺔ‬

‫ﺍﻟﺸﻌﺎﺭﺍﺕ" )‪ .(8‬ﺑﺴﺒﺐ ﻧﻬﺠﻬﻢ ﺍﻟﻔﻜﺮﻱ ﻟﻠﻐﺎﻳﺔ ﻓﻲ ﻧﺸﺮ ﻫﺬﻩ ﺍﻟﻤﻨﺸﻮﺭﺍﺕ‪ ،‬ﻓﺈﻥ ﺍﻷﻋﻀﺎء‬

‫ﺃﺛﺎﺭﺕﻫﺬﻩ ﺍﻟﺤﺮﻛﺔ ﺗﻐﻴﻴﺮﺍً ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻨُﻈﺮ ﺇﻟﻴﻬﻢ ﻋﻠﻰ ﺃﻧﻬﻢ ﺃﺑﻄﺎﻝ ﺍﻟﻴﻮﻡ ﻓﻲ ﺃﻟﻤﺎﻧﻴﺎ‪.‬‬

‫ﻛﻤﺎﺳﺎﻋﺪﺕ ﺍﻟﻤﻠﺼﻘﺎﺕ ﻭﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻤﺮﺳﻮﻣﺔ ﺍﻟﻤﺘﻈﺎﻫﺮﻳﻦ ﻋﻠﻰ ﻋﺮﺽ ﻭﺟﻬﺎﺕ ﻧﻈﺮﻫﻢ ﺃﻣﺎﻡ ﺍﻟﺠﻤﻬﻮﺭ ﺃﺛﻨﺎء ﺍﻟﻤﻈﺎﻫﺮﺓ‬

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 ‫ﺍﻟﺜﻮﺭﺍﺕﺍﻟﻄﻼﺑﻴﺔ ﺍﻟﺘﻲ ﺍﻣﺘﺪﺕ ﻓﻲ ﺍﻟﺴﺘﻴﻨﻴﺎﺕ ﻭﺍﻟﺴﺒﻌﻴﻨﻴﺎﺕ‪ ،‬ﺣﺘﻰ ﺃﻥ ﺍﻟﻄﻼﺏ ﺍﻟﻔﺮﻧﺴﻴﻴﻦ ﺍﺳﺘﺨﺪﻣﻮﺍ "ﺍﻟﺜﻮﺭﺓ ﺍﻟﻄﻼﺑﻴﺔ"‪)com.pochior.‬ﺍﻝ‬

‫ﻛﻠﻤﺔﻓﺮﻧﺴﻴﺔ ﺗﻌﻨﻲ ﺗﻘﻨﻴﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺑﺎﻻﺳﺘﻨﺴﻞ" )‪.(8‬‬

‫ﺗﻢﺍﺧﺘﺮﺍﻉ ﻭﺿﻊ ﺍﻟﻌﻼﻣﺎﺕ ﻓﻲ ﻣﻨﺘﺼﻒ ﺍﻟﺴﺘﻴﻨﻴﺎﺕ‪ .‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﺘﻲ ﺣﺪﺛﺖ ﻗﺒﻞ ﻋﺎﻡ ‪" 1965‬ﻛﺎﻧﺖ ﺇﻟﻰ ﺣﺪ ﻛﺒﻴﺮ‬

‫"ﻛﺎﻧﺖ ﻣﺮﺗﺒﻄﺔ ﺑﺎﻟﻌﺼﺎﺑﺎﺕ ﻭﻟﻬﺎ ﺗﺎﺭﻳﺨﻬﺎ ﻭﺗﻘﺎﻟﻴﺪﻫﺎ ﺍﻟﺨﺎﺻﺔ" ﻭﺍﻟﺘﻲ "ﻣﻨﻔﺼﻠﺔ ﻋﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﺍﻟﻜﺘﺎﺑﺔ" ﺍﻟﺘﻲ ﻳﺮﻛﺰ ﻋﻠﻴﻬﺎ ﻫﺬﺍ ﺍﻟﻤﺸﺮﻭﻉ )‪ .(Lewisohn، 31‬ﺗﻄﻮﺭﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻛﻤﺎ ﻧﻌﺮﻓﻬﺎ ﺍﻟﻴﻮﻡ‬

‫ﻗﺮﺏﻧﻬﺎﻳﺔ ﺍﻟﺴﺒﻌﻴﻨﻴﺎﺕ ﻓﻲ ﻧﻴﻮﻳﻮﺭﻙ ﻭﻓﻴﻼﺩﻟﻔﻴﺎ “ﺣﻴﺚ ﻓﻨﺎﻧﻴﻦ ﻣﺜﻞ ﺗﺎﻛﻲ ‪ ،183‬ﺟﻮﻟﻴﻮ‬

‫‪،204‬ﻭ‪ ،Cat 161‬ﻭ‪) Cornbread‬ﻣﻦ ﻓﻴﻼﺩﻟﻔﻴﺎ( ﺭﺳﻤﻮﺍ ﺃﺳﻤﺎﺉﻬﻢ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺃﻭ ﻓﻲ ﻣﺘﺮﻭ ﺍﻷﻧﻔﺎﻕ‬

‫ﻣﺤﻄﺎﺕﺣﻮﻝ ﻣﺎﻧﻬﺎﺗﻦ" )ﺍﻟﺸﻜﻞ ‪) (1‬ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .(8,‬ﻟﻘﺪ ﻛﺎﻥ "ﺍﻟﻤﻜﻴﺎﺝ ﺍﻟﻔﺮﻳﺪ ﻟـ‬

‫ﻣﺪﻳﻨﺔﻧﻴﻮﻳﻮﺭﻙ ‪ -‬ﺣﻴﺚ ﺍﻷﺣﻴﺎء ﺍﻟﻔﻘﻴﺮﺓ ﻓﻲ ﻫﺎﺭﻟﻢ ﻭ‬

‫ﻋﺎﻟﻢﺑﺮﻭﺩﻭﺍﻱ ﺍﻟﺴﺎﺣﺮ ﻳﻘﻒ ﺟﻨﺒﺎً ﺇﻟﻰ ﺟﻨﺐ‬

‫ﺍﻟﺠﺎﻧﺐ‪] -‬ﻫﺬﺍ[ ﻳﺒﺪﻭ ﺃﻧﻪ ﻛﺎﻥ ﺃﺭﺿﺎً ﺧﺼﺒﺔ‬

‫ﻷﻭﻝﺍﻟﻔﻨﺎﻧﻴﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻭﺍﻟﺠﻤﻊ ﺑﻴﻦ ﺍﻟﻜﺜﻴﺮ‬

‫ﺛﻘﺎﻓﺎﺕﻭﻗﻀﺎﻳﺎ ﻃﺒﻘﻴﺔ ﻣﺨﺘﻠﻔﺔ ﻓﻲ ﺁﻥ ﻭﺍﺣﺪ‬

‫ﺍﻟﻤﻜﺎﻥ" )‪ .(9‬ﺃﺩﻯ ﻫﺬﺍ ﺇﻟﻰ ﺧﻠﻖ ﺑﻴﺉﺔ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻫﺎ‬

‫ﺗﻢﺗﻮﻓﻴﺮ "ﺍﻻﻧﻔﺼﺎﻝ ﻋﻦ ﺍﻟﻔﻘﺮ ﻭﺍﻟﻐﻴﺘﻮ"‪.‬‬

‫ﻭﻗﻮﺩﺍﻟﻤﻌﺮﻛﺔ ﺑﻴﻦ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻭ"ﺍﻟﺴﻠﻄﺔ"‪.‬‬

‫ﻭﺳﻄﺎءﺍﻟﻤﺠﺘﻤﻊ" )‪ .(9‬ﻟﻢ ﻳﻤﺾ ﻭﻗﺖ ﻃﻮﻳﻞ‬

‫ﺍﺟﺘﺎﺣﺖﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻣﺨﻠﻔﺔ "ﺍﻵﻻﻑ"‪.‬‬

‫ﻣﻦﺍﻟﺸﺒﺎﺏ ﺗﺤﺖ ﺗﺄﺛﻴﺮﻩ« )‪.(٩‬‬ ‫ﺍﻟﺸﻜﻞ‪ – 1‬ﻋﻼﻣﺎﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﺗﻈﻞﺍﻟﺮﻏﺒﺔ ﻓﻲ ﺍﻟﺸﻬﺮﺓ ﻫﻲ ﺍﻟﺴﺒﺐ ﺍﻟﺠﺬﺭﻱ ﻟﻠﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻭﻟﻜﻦ ﻟﻴﺲ ﺑﺎﻟﻤﻌﻨﻰ ﺍﻟﺘﻘﻠﻴﺪﻱ‪.‬‬

‫ﻳﻬﺘﻢﺍﻟﻜﺘﺎﺏ ﺃﻛﺜﺮ ﺑﺎﻟﻌﻼﻣﺔ ﺍﻟﺘﺠﺎﺭﻳﺔ ﺑﺪﻻ ًﻣﻦ ﺍﻟﻬﻮﻳﺔ ﺍﻟﺸﺨﺼﻴﺔ ﻭﺇﻋﺎﺩﺓ ﺍﻟﺘﺴﺠﻴﻞ‬

‫ﺍﻟﻤﺪﻳﻨﺔ‪،‬ﻭﺍﻟﺘﻲ ﻳﻨﺠﺰﻭﻧﻬﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﻐﻄﻴﺔ ﺍﻟﺠﻤﺎﻫﻴﺮﻳﺔ ﻭﻛﺬﻟﻚ ﻣﻦ ﺧﻼﻝ ﺍﻷﺳﻠﻮﺏ‪ .‬ﺳﺎﺑﻘﺎ‬

‫ﺫﻛﺮﺗﺎﻛﻲ ‪ 183‬ﻛﺎﻥ ﺃﻭﻝ ﻛﺎﺗﺐ ﻳﺤﻘﻖ ﺍﻟﺸﻬﺮﺓ ﻋﻨﺪﻣﺎ “ﻛﺎﻧﺖ ﻫﻮﺍﻳﺘﻪ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻪ‬

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 ‫ﺗﻢﺗﺨﻠﻴﺪ ﺍﻟﻠﻘﺐ ﻭﺭﻗﻢ ﺍﻟﺸﺎﺭﻉ ﺣﻮﻝ ﺃﺣﻴﺎء ﻧﻴﻮﻳﻮﺭﻙ ﺍﻟﺨﻤﺴﺔ ﻓﻲ‬

‫ﻣﻘﺎﻝﻓﻲﻧﻴﻮﻳﻮﺭﻙ ﺗﺎﻳﻤﺰ"ﻓﻲ ﻋﺎﻡ ‪) 1971‬ﻟﻮﻳﺰﻭﻥ ‪ .(43‬ﻭﺳﺮﻋﺎﻥ ﻣﺎ ﺣﺬﺍ ﻣﺉﺎﺕ ﺍﻟﻜﺘﺎﺏ ﺣﺬﻭﻩ‬

‫ﻭﺧﺮﺟﻮﺍﺇﻟﻰ ﺍﻟﺸﻮﺍﺭﻉ ﻣﻊ ﺍﻟﻨﺸﺎﻁ‪ .‬ﻗﺪﻣﺖ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻔﺮﺻﺔ ﻟﻠﻨﺎﺱ‬

‫ﻣﻦﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﻄﺮﻓﻴﺔ ﻓﻲ ﺍﻟﻤﺠﺘﻤﻊ ﻟﻴﺼﺒﺢ ﺷﺨﺼﺎً ﻣﺎ‪ ،‬ﺣﺘﻰ ﻟﻮ ﺗﻢ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺫﻟﻚ ﻓﻘﻂ ﻓﻲ ﺍﻟﺪﺍﺧﻞ‬

‫ﻓﺮﻋﻬﻢ)‪ .(43‬ﻳﻤﻜﻦ ﺍﻋﺘﺒﺎﺭ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻔﺮﻋﻴﺔ ﻟﻠﻜﺎﺗﺐ ﺑﻤﺜﺎﺑﺔ ﺳﺮ‬

‫ﻣﺠﺘﻤﻊﻣﻦ ﺍﻟﻨﻮﻉ ﺍﻟﺬﻱ ﺗﻮﺟﺪ ﻓﻴﻪ ﻟﻐﺔ ﻻ ﻳﻤﻜﻦ ﻓﻬﻤﻬﺎ ﺇﻻ ﻣﻦ ﻗﺒﻞ ﺍﻟﻤﺸﺎﺭﻛﻴﻦ ﻓﻴﻬﺎ‪ .‬ﻫﺬﺍ‬

‫ﺗﻮﻓﺮﺍﻟﻤﺸﺎﺭﻛﺔ ﻓﺮﺻﺔ ﺗﻨﺸﻴﻄﻴﺔ ﻟﺘﺼﺒﺢ ﺟﺰءﺍً ﻣﻦ ﺍﻟﻤﺤﺎﺩﺛﺔ‬

‫ﻣﻜﺎﻥﻋﻠﻰ ﺃﺳﻮﺍﺭ ﺍﻟﻤﺪﻳﻨﺔ‪ ،‬ﻭﺧﺎﺻﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻷﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ "ﻟﺪﻳﻬﻢ ﺻﻮﺕ ﺿﺉﻴﻞ ﺃﻭ ﻟﻴﺲ ﻟﺪﻳﻬﻢ ﺻﻮﺕ ﻓﻲ ﺍﻟﻤﺠﺘﻤﻊ" )‪.(45‬‬

‫ﺃﺩﺕﺍﻟﻈﺮﻭﻑ ﺍﻟﺼﻌﺒﺔ ﻟﻠﻤﺠﺘﻤﻌﺎﺕ ﺍﻟﺤﻀﺮﻳﺔ ﺇﻟﻰ ﻇﻬﻮﺭ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ ﺍﻷﻏﻠﺒﻴﺔ‬

‫ﻛﺎﻥﺍﻟﻔﻨﺎﻧﻮﻥ ﻣﻦ ﺍﻟﺸﺒﺎﺏ ﺍﻟﺬﻳﻦ ﻛﺎﻧﻮﺍ “ﺿﺤﺎﻳﺎ ﻣﺨﻄﻄﺎﺕ ﺍﻟﺘﺠﺪﻳﺪ ﺍﻟﺤﻀﺮﻱ ﻭﺑﻨﺎء ﺍﻟﻄﺮﻕ ﺍﻟﺴﺮﻳﻌﺔ ﺍﻟﺘﻲ ﺍﺳﺘﻐﺮﻗﺖ‬

‫ﻣﻜﺎﻥﻓﻲ ﻣﻨﺘﺼﻒ ﺍﻟﻘﺮﻥ ﺍﻟﻤﺎﺿﻲ" )ﻟﻮﻳﺴﻮﻥ ‪ .(7‬ﻋﺎﺩﺓ ﻣﺎ ﻳﺘﻢ ﺗﻘﺪﻳﻢ ﺍﻟﺘﺠﺪﻳﺪ ﺍﻟﺤﻀﺮﻱ ﻋﻠﻰ ﺃﻧﻪ‬

‫"ﺍﻟﺮﻏﺒﺔ ﻓﻲ ﺗﺤﺴﻴﻦ ﺣﻴﺎﺓ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﻟﻜﻨﻬﺎ ﻓﻲ ﺍﻟﻐﺎﻟﺐ ﻣﺠﺮﺩ ﺫﺭﻳﻌﺔ ﻟﻠﺪﺍﻓﻊ ﺍﻟﺤﻘﻴﻘﻲ‪ :‬ﺍﻟﺼﻨﻊ‬

‫ﺍﻟﻤﺎﻝ" )‪ .(7‬ﻭﻫﺬﺍ ﻳﻌﻜﺲ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﻄﻮﻳﻞ ﻣﻦ ﺍﻟﻌﺪﺍء ﺗﺠﺎﻩ ﻓﻘﺮﺍء ﺍﻟﺤﻀﺮ‪ .‬ﻳﻀﻴﻒ ﻟﻮﻳﺴﻮﻥ‪:‬‬

‫ﻳﻌﺘﻘﺪﺍﻟﻤﺨﻄﻄﻮﻥ ﺃﻥ ﺗﺠﺮﻳﻒ ﻭﺇﻋﺎﺩﺓ ﺍﻟﺒﻨﺎء ﻟﺘﻬﺠﻴﺮ ﺍﻟﺴﻜﺎﻥ ﻓﻜﺮﺓ ﻋﻈﻴﻤﺔ‬

‫ﺃﺣﻴﺎءﺑﻬﺎ ﻓﺮﺹ ﻋﻘﺎﺭﻳﺔ ﻟﺮﻭﺍﺩ ﺍﻷﻋﻤﺎﻝ‪ ،‬ﺑﻴﻨﻤﺎ ﺗﺪﻣﺮ‬

‫ﻫﺬﻩﺍﻟﻤﺠﺘﻤﻌﺎﺕ "ﺍﻟﺨﻄﻴﺮﺓ" ﺍﻟﺘﻲ ﻗﺪ ﺗﺨﻞ ﺑﺎﻟﻨﻈﺎﻡ ﺍﻻﺟﺘﻤﺎﻋﻲ‪...‬ﺍﻷﺳﺎﺱ‬

‫ﻛﺎﻧﺖﺍﻟﻔﻜﺮﺓ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻫﻲ ﻋﺰﻝ ﻭﺗﻔﻜﻴﻚ ﺍﻟﻤﺠﺘﻤﻌﺎﺕ ﺍﻟﺘﻲ ﻳﺤﺘﻤﻞ ﺃﻥ ﺗﻜﻮﻥ ﻣﺘﻤﺮﺩﺓ‬

‫ﻣﻨﻊﺗﺸﻜﻴﻞ ﻛﺘﻠﺔ ﺣﺮﺟﺔ ﻟﻼﺿﻄﺮﺍﺑﺎﺕ‪(7) .‬‬

‫ﻛﺎﻥﻫﺬﺍ‪ ،‬ﺇﻟﻰ ﺟﺎﻧﺐ ﺍﻟﺪﺍﻓﻊ ﻟﺠﻌﻞ ﺍﻟﺤﻴﺎﺓ ﻓﻲ ﺍﻟﻀﻮﺍﺣﻲ ﻓﻲ ﻣﺘﻨﺎﻭﻝ "ﺍﻟﻌﺎﻣﺔ"‪.‬‬

‫ﺍﻟﻨﺎﺱ"‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺃﺩﻯ ﺇﻟﻰ ﺗﻐﻴﻴﺮ ﻓﻲ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺍﻟﺘﻨﻤﻴﺔ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻓﻲ ﺍﻟﻮﻻﻳﺎﺕ ﺍﻟﻤﺘﺤﺪﺓ ﺑﻌﺪ ﺍﻟﺤﺮﺏ ﺍﻟﻌﺎﻟﻤﻴﺔ ﺍﻟﺜﺎﻧﻴﺔ‬

‫ﺍﻟﺤﺮﺏﺍﻟﻌﺎﻟﻤﻴﺔ ﺍﻟﺜﺎﻧﻴﺔ" )‪ .(7‬ﻭﻗﺪ ﺃﺩﻯ ﺫﻟﻚ ﺇﻟﻰ ﺧﻠﻖ ﺃﻣﻮﺍﻝ ﺟﺪﻳﺪﺓ ﻭﺗﻮﻟﻴﺪ "ﺭﺅﻯ"‪.‬‬

‫ﻓﺮﺻﺔﻛﺒﻴﺮﺓ ﻓﻲ ﺗﻄﻮﻳﺮ ﺍﻟﻀﻮﺍﺣﻲ ﻋﻠﻰ ﺣﺴﺎﺏ ﺍﻟﻤﺪﻥ ﺍﻟﺘﻲ ﺳﻤﺢ ﻟﻬﺎ ﺑﺬﻟﻚ‬

‫ﺗﻨﻬﺎﺭﻭﺗﻤﻮﺕ‪ .‬ﻭﻧﺘﻴﺠﺔ ﻟﺬﻟﻚ‪ ،‬ﻋﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻤﺠﺘﻤﻌﺎﺕ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺣﻴﻮﻳﺔ ﻓﻲ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﻭﺍﻟﺘﻲ ﻧﺰﺣﺖ ﻭﺍﻧﺘﻘﻠﺖ ﺇﻟﻰ ﺃﻣﺎﻛﻦ ﺃﺧﺮﻯ‬

‫‪9‬‬
 ‫)‪ .(7‬ﻭﺳﺮﻋﺎﻥ ﻣﺎ ﺗﺤﻮﻟﺖ ﻫﺬﻩ ﺍﻷﺑﺮﺍﺝ ﺍﻟﻼﻣﻌﺔ ﺇﻟﻰ ﻣﺸﺎﺭﻳﻊ ﺳﻜﻨﻴﺔ ﺳﻴﺉﺔ ﺍﻟﺴﻤﻌﺔ ﻭﻏﻴﺮ ﺻﺎﻟﺤﺔ ﻟﻠﻌﻴﺶ‪ ،‬ﻭﻓﻲ‬

‫"ﻓﻲ ﺣﻘﺒﺔ ﺍﻹﻫﻤﺎﻝ ﻭﺍﻟﺘﺪﻫﻮﺭ ﺍﻻﻗﺘﺼﺎﺩﻱ ﺍﻟﺘﻲ ﺗﻠﺖ ﺫﻟﻚ‪ ،‬ﻭﻟﺪﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ" )‪.(7‬‬

‫ﺗﻄﻮﺭﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺇﻟﻰ ﺣﺮﻛﺔ ﻓﻨﻴﺔ‬

‫ﺃﺩﻯﻓﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻛﺎﺳﺘﺠﺎﺑﺔ ﺇﺑﺪﺍﻋﻴﺔ ﻟﻠﺸﺒﺎﺏ ﺍﻟﺤﻀﺮﻱ ﻟﻠﻈﺮﻭﻑ ﺍﻟﺤﻀﺮﻳﺔ ﺍﻟﻘﺎﺳﻴﺔ‪ ،‬ﺇﻟﻰ ﻇﻬﻮﺭ‬

‫ﺇﻧﺸﺎءﻣﺠﺘﻤﻊ ﺟﺪﻳﺪ ‪ -‬ﻣﺠﺘﻤﻊ ﻟﻦ ﻳﺘﻢ ﺗﺪﻣﻴﺮﻩ‪ ،‬ﻭﻟﻜﻦ ﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ‪ ،‬ﻛﺎﻥ "ﻣﺴﺘﻘﻼ"ً‪.‬‬

‫ﻭﻣﻦﺍﻟﻤﺴﺘﺤﻴﻞ ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻴﻬﺎ" )‪ .(7‬ﺗﻄﻮﺭ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻣﻦ ﺍﻟﻤﺮﺍﺣﻞ ﺍﻷﻭﻟﻰ ﻟﻮﺿﻊ ﺍﻟﻌﻼﻣﺎﺕ ﺇﻟﻰ‬

‫"ﺍﻟﻨﻘﻄﺔ ﺍﻟﺘﻲ ﺗﻈﻬﺮ ﻓﻴﻬﺎ ﻛﺤﺮﻛﺔ ﻣﺼﺎﻏﺔ ﺑﺎﻟﻜﺎﻣﻞ ﺣﺪﺛﺖ ﺑﺴﺮﻋﺔ ﻛﺒﻴﺮﺓ‪ :‬ﻋﻠﻰ ﻣﺪﻯ ﺃ‬

‫ﺧﻤﺲﺳﻨﻮﺍﺕ" )‪ .(31‬ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻛﺎﻧﺖ ﻫﺬﻩ ﻫﻲ ﺍﻟﻈﺎﻫﺮﺓ ﺗﻤﺎﻣﺎً‪ ،‬ﻭ‬

‫ﺃﻫﻤﻴﺔ"ﺍﻟﺸﺒﺎﺏ ﺍﻟﻤﺤﺮﻭﻣﻴﻦ ﻓﻲ ﻣﺪﻳﻨﺔ ﻧﻴﻮﻳﻮﺭﻙ ﻓﻲ ﺍﻟﺴﺒﻌﻴﻨﻴﺎﺕ ﻭﺃﻭﺍﺉﻞ ﺍﻟﺜﻤﺎﻧﻴﻨﻴﺎﺕ"‬

‫ﺗﻮﺟﻴﻪﺇﺣﺒﺎﻃﺎﺗﻬﻢ ﻭﻣﻠﻠﻬﻢ ﺇﻟﻰ ﺻﻨﻊ ﺍﻟﻔﻦ ﺍﻟﺒﺼﺮﻱ ‪ -‬ﻟﻴﺲ ﺍﻟﻤﻮﺳﻴﻘﻰ‪ ،‬ﻭﻟﻴﺲ ﺍﻟﺮﻳﺎﺿﺔ‪ ،‬ﻭﻟﻜﻦﻓﻦ—‬

‫ﻟﻢﻳﺴﺒﻖ ﻟﻪ ﻣﺜﻴﻞ" )‪ .(31‬ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺍﻟﺬﻱ ﻧﺸﺄ ﻣﻦ ﻫﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ ﻣﻜﻦ ﺍﻟﺸﺒﺎﺏ ﻣﻦ "ﻣﺸﺎﻫﺪﺓ ﺍﻟﻌﺎﻟﻢ"‪.‬‬

‫ﺍﻟﻌﺎﻟﻢﻣﻦ ﺣﻴﺚ ﺟﻤﻴﻊ ﺍﻟﻠﻐﺎﺕ ﺍﻟﻤﺮﺉﻴﺔ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﻣﺘﺎﺣﺔ ﻟﻬﻢ ﻛﻤﺼﺎﺩﺭ ﻟﻼﻗﺘﺒﺎﺱ ﻣﻨﻬﺎ‬

‫ﻭﺭﻳﻤﻴﻜﺲ" )‪ .(31‬ﻟﻘﺪ ﺣﺪﺙ ﻫﺬﺍ ﺍﻟﻨﺸﺎﻁ ﺑﻄﺮﻳﻘﺔ ﻋﻔﻮﻳﺔ ﺗﻤﺎﻣﺎً‪ ،‬ﻭﺗﻢ ﺑﺪﻭﻧﻪ‬

‫ﺃﻱ“ﺩﻋﻢ ﻣﺎﻟﻲ ﺃﻭ ﺣﺎﻓﺰ ﺃﻭﻟﻲ‪ ،‬ﻭﻟﻢ ﻳﻜﻦ ﻟﺪﻯ ﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻷﻭﻟﻰ ﻣﻦ ﻛﺘﺎﺏ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﺳﻮﻯ ﺍﻟﻘﻠﻴﻞ ﺃﻭ ﻻ ﺷﻲء ﻋﻠﻰ ﺍﻹﻃﻼﻕ‬

‫ﺍﻟﺘﺪﺭﻳﺐﺃﻭ ﺍﻟﻤﻌﺮﻓﺔ ﻓﻲ ﻣﺪﺭﺳﺔ ﺍﻟﻔﻨﻮﻥ" )‪ .(31‬ﻭﻳﻤﻜﻦ ﺍﻟﻘﻮﻝ ﺃﻥ ﻫﺬﻩ ﺍﻟﺤﺮﻛﺔ ﺍﻟﻔﻨﻴﺔ ﺣﻘﻘﺖ ﺃ‬

‫"ﺃﻫﻤﻴﺔ ﺛﻘﺎﻓﻴﺔ ﻣﻦ ﺷﺄﻧﻬﺎ ﺃﻥ ﺗﺘﺠﺎﻭﺯ ﻛﻞ ﺍﻵﺧﺮﻳﻦ ﻓﻲ ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﻧﻲ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ"‬

‫)‪.(31‬‬

‫ﻟﻮﺿﻊﺍﻟﻌﻼﻣﺎﺕ‪ ،‬ﻳﺴﺘﺨﺪﻡ ﻓﻨﺎﻧﻮ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﺃﺳﻤﺎﺉﻬﻢ ﺍﻟﺤﻘﻴﻘﻴﺔ ﺃﻭ ﺃﻟﻘﺎﺑﻬﻢ‪ ،‬ﻟﻜﻦ ﺍﻷﻣﺮ ﻟﻢ ﻳﻜﻦ ﻛﺬﻟﻚ‬

‫ﻗﺒﻞﻭﻗﺖ ﻃﻮﻳﻞ ﻣﻦ ﻇﻬﻮﺭ ﺍﻷﺳﻤﺎء ﺍﻟﻤﺴﺘﻌﺎﺭﺓ‪ .‬ﻣﻊ "ﻭﻓﺮﺓ ﻓﻨﺎﻧﻲ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﺍﻟﺠﺪﺩ ﺍﻟﺬﻳﻦ ﻳﻠﻮﺣﻮﻥ ﺑﺄﻓﻜﺎﺭﻫﻢ"‪.‬‬

‫"ﺃﺳﻤﺎء ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻤﺪﻳﻨﺔ‪ "،‬ﺑﺪﺃ ﺍﻟﻜﺘﺎﺏ ﻓﻲ ﺍﻟﺒﺤﺚ ﻋﻦ ﻃﺮﻕ ﻟﺠﻌﻞ ﺃﻋﻤﺎﻟﻬﻢ ﺑﺎﺭﺯﺓ‬

‫)ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .(9 ،‬ﻭﻧﺘﻴﺠﺔ ﻟﺬﻟﻚ‪ ،‬ﺃﺻﺒﺤﺖ ﺍﻟﻌﻼﻣﺎﺕ ﺃﻛﺒﺮ ﻓﺄﻛﺒﺮ ﺣﺘﻰ ﻇﻬﻮﺭ "ﺍﻟﻘﻄﻊ" ﺍﻷﻭﻟﻰ‪ ،‬ﻭﻫﻲ ﺍﺧﺘﺼﺎﺭ ﻟـ "ﺍﻟﻘﻄﻊ"‪.‬‬

‫ﻇﻬﺮﺕ"ﺍﻟﺮﻭﺍﺉﻊ"‪ .‬ﺗﻢ ﺍﺳﺘﻬﺪﺍﻑ ﺍﻟﻘﻄﺎﺭﺍﺕ ﻣﻦ ﻗﺒﻞ ﻛﺘﺎﺏ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻟﻴﺲ ﻓﻘﻂ ﻷﻧﻬﻢ ﺳﺎﻓﺮﻭﺍ‬

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 ‫ﻋﻠﻰﻃﻮﻝ ﺍﻟﻤﺪﻳﻨﺔ ﺑﺄﻛﻤﻠﻬﺎ‪ ،‬ﻭﻟﻜﻦ ﻷﻧﻬﻢ ﺷﺎﻫﺪﻭﺍ ﺍﻟﻤﻼﻳﻴﻦ )ﺍﻟﺸﻜﻞ ‪ .(2‬ﺃﻓﺎﺩ ﻏﺎﻧﺰ ﺑﺬﻟﻚ‬

‫ﺍﻟﺸﻜﻞ‪ – 2‬ﻗﺼﻒ ﻗﻄﺎﺭ ﻣﺪﻳﻨﺔ ﻧﻴﻮﻳﻮﺭﻙ ﺑﺎﻟﻜﺘﺎﺑﺎﺕ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫"ﺑﺤﻠﻮﻝ ﻣﻨﺘﺼﻒ ﺍﻟﺜﻤﺎﻧﻴﻨﻴﺎﺕ‪ ...‬ﻟﻢ ﻳﻜﻦ ﻫﻨﺎﻙ ﻗﻄﺎﺭ ﻭﺍﺣﺪ ﻟﻢ ﻳﺘﻢ ﻃﻼءﻩ ﺑﺎﻟﺮﺵ ﻓﻲ ﻭﻗﺖ ﻭﺍﺣﺪ‬

‫ﻣﻦﺍﻷﻋﻠﻰ ﺇﻟﻰ ﺍﻷﺳﻔﻞ« )‪ .(٩‬ﻭﺍﺳﺘﻤﺮ ﻫﺬﺍ ﺣﺘﻰ ﻋﺎﻡ ‪ 1986‬ﺗﻘﺮﻳﺒﺎً‪ ،‬ﻋﻨﺪﻣﺎ ﻗﺎﻣﺖ ﺳﻠﻄﺎﺕ ﻧﻴﻮﻳﻮﺭﻙ ﺑﺘﺮﻛﻴﺐ ﺍﻷﺳﻮﺍﺭ‬

‫ﺣﻮﻝﺳﺎﺣﺎﺕ ﺍﻟﻤﺤﻄﺔ ﻭﺑﺪﺃﻭﺍ ﺑﺸﻜﻞ ﺭﻭﺗﻴﻨﻲ ﻓﻲ ﺗﻠﻤﻴﻊ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻣﻦ ﻋﺮﺑﺎﺕ ﺍﻟﻘﻄﺎﺭ ﻛﻮﺳﻴﻠﺔ ﻟﻠﺤﻤﺎﻳﺔ‬

‫ﻋﻘﺎﺭﺍﺕﺍﻟﻤﺪﻳﻨﺔ )‪ .(9‬ﺍﺳﺘﻤﺮﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻻﻧﺘﺸﺎﺭ ﻣﻊ ﺳﻔﺮ ﺍﻟﻜﺘﺎﺏ ﻣﻦ ﻣﺸﻬﺪ ﻧﻴﻮﻳﻮﺭﻙ‬

‫ﺣﻮﻝ‪.‬ﻭﺳﺮﻋﺎﻥ ﻣﺎ ﺍﺟﺘﺎﺣﺖ ﻫﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻟﻮﻻﻳﺎﺕ ﺍﻟﻤﺘﺤﺪﺓ ﺍﻷﻣﺮﻳﻜﻴﺔ‪ ،‬ﻭﻟﻢ ﻳﻤﺾ ﻭﻗﺖ ﻃﻮﻳﻞ ﺣﺘﻰ ﺃﺻﺒﺤﺖ ﺍﻟﻘﻄﺎﺭﺍﺕ ﺍﻷﻭﺭﻭﺑﻴﺔ ﻧﻤﻮﺫﺟﺎً‬

‫ﻫﺪﻑ‪.‬ﻓﻲ ﻫﺬﺍ ﺍﻟﻮﻗﺖ ﺗﻘﺮﻳﺒﺎً‪ ،‬ﺑﺪﺃﺕ ﺍﻟﻤﻌﺎﺭﺽ ﺍﻷﻭﺭﻭﺑﻴﺔ ﺗﻘﺎﻡ ﻓﻲ ﺃﻣﺴﺘﺮﺩﺍﻡ ﻭﺃﻧﺘﻮﻳﺮﺏ‪،‬‬

‫ﻭﺍﻧﺘﺸﺮﺕﺍﻟﻘﻄﻊ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺃﻭﺭﻭﺑﺎ ﺑﺪءﺍً ﻣﻦ ﺃﻭﺍﺉﻞ ﺍﻟﺜﻤﺎﻧﻴﻨﻴﺎﺕ‪ .‬ﻛﺎﻥ ﺫﻟﻚ ﻓﻲ ﻣﻨﺘﺼﻒ ﺍﻟﺜﻤﺎﻧﻴﻨﺎﺕ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‪،‬‬

‫ﻭﻣﻊﺫﻟﻚ‪ ،‬ﺍﻧﻔﺠﺮ ﻣﺸﻬﺪ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺃﻭﺭﻭﺑﺎ‪ .‬ﺑﻴﻨﻤﺎ ﻛﺎﻧﺖ ﺑﻌﺾ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺃﻭﺭﻭﺑﺎ‬

‫ﻋﻠﻰﻏﺮﺍﺭ ﺍﻟﺤﺮﻛﺔ ﺍﻷﻣﺮﻳﻜﻴﺔ‪ ،‬ﺑﺪﺃ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻳﺄﺧﺬ ﺷﻜﻼ ًﻭﺃﺳﻠﻮﺑﺎً ﺧﺎﺻﺎً ﺑﻪ‬

‫ﺍﻟﺨﺎﺹ)‪.(9‬‬

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 ‫ﻇﻬﻮﺭﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﻭﻓﻲﺣﻴﻦ ﻛﺎﻧﺖ ﺍﻟﺤﺮﻭﻑ ﻫﻲ ﺍﻟﻤﻬﻴﻤﻨﺔ ﺫﺍﺕ ﻳﻮﻡ‪ ،‬ﻓﺈﻥ “ﺍﻟﺜﻘﺎﻓﺔ ﺗﻮﺳﻌﺖ ]ﻣﻨﺬ ﺫﻟﻚ ﺍﻟﺤﻴﻦ[‪ :‬ﺃﺷﻜﺎﻝ ﺟﺪﻳﺪﺓ‬

‫ﺗﻢﺍﺳﺘﻜﺸﺎﻓﻬﺎ‪ ،‬ﻭﺑﺪﺃﺕ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺍﻟﺮﻣﻮﺯ ﻭﺍﻟﺘﺠﺮﻳﺪﺍﺕ ﻓﻲ ﺍﻟﺘﻜﺎﺛﺮ" )‪ .(7‬ﻭﻳﻀﻴﻒ ﻏﺎﻧﺰ‪:‬‬

‫ﻋﻠﻰﻣﺪﻯ ﺍﻟﺴﻨﻮﺍﺕ ﺍﻟﻘﻠﻴﻠﺔ ﺍﻟﻤﺎﺿﻴﺔ‪ ،‬ﺍﺳﺘﺨﺪﻡ ﻓﻨﺎﻧﻮ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻧﻄﺎﻗﺎً ﺃﻭﺳﻊ ﻣﻦ‬

‫ﺗﻌﺒﻴﺮ‪.‬ﺍﻟﻨﻤﻂ ﺍﻟﺸﺨﺼﻲ ﻣﺠﺎﻧﻲ ﻟﻠﺘﻄﻮﻳﺮ ﺩﻭﻥ ﺃﻱ ﻗﻴﻮﺩ ﺃﻭ ﻣﻠﺼﻘﺎﺕ‪،‬‬

‫ﺍﻟﻤﻠﺼﻘﺎﺕ‪،‬ﻭﺍﻻﺳﺘﻨﺴﻞ‪ ،‬ﻭﺍﻟﺒﺨﺎﺧﺔ‪ ،‬ﻭﺍﻟﻄﺒﺎﺷﻴﺮ ﺍﻟﺰﻳﺘﻴﺔ‪ ،‬ﻭﺟﻤﻴﻊ ﺃﻧﻮﺍﻉ ﺍﻟﻄﻼء ﻭﺣﺘﻰ ﺍﻟﻨﺤﺖ‬

‫ﻳﺴﺘﺨﺪﻡ‪.‬ﻟﻘﺪ ﺗﺤﺮﺭ ﻣﻌﻈﻢ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻣﻦ ﺍﻻﻋﺘﻤﺎﺩ ﻓﻘﻂ ﻋﻠﻰ ﻋﻠﺒﺔ ﺍﻟﺮﺵ‪.‬‬

‫)‪(7‬‬

‫ﻭﻳﻨﻌﻜﺲﻫﺬﺍ ﻓﻲ ﺷﻜﻞ ﺟﺪﻳﺪ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻭﺍﻟﺬﻱ ﻳﺸﺎﺭ ﺇﻟﻴﻪ ﺍﻵﻥ ﺑﺎﺳﻢ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﻭﺍﻟﺬﻱ ﺗﻄﻮﺭ ﻛﻔﻨﺎﻧﻴﻦ‬

‫ﺑﺪﺃﺕﻓﻲ ﺍﺳﺘﺨﺪﺍﻡ "ﺃﺳﺎﻟﻴﺐ ﺃﻛﺜﺮ ﺍﺑﺘﻜﺎﺭﺍً ﻓﻲ ﺍﻟﺸﻜﻞ ﻭﺍﻟﺘﻘﻨﻴﺔ ﺍﻟﺘﻲ ]ﺗﺠﺎﻭﺯﺕ[ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ‬

‫ﺗﺼﻮﺭﺍﺕﻋﻦ ﺃﺳﻠﻮﺏ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ ")‪ .(7‬ﻛﺎﻥ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﻛﺘﺎﺏ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﺑﻌﺪ ﺍﻻﻋﺘﺮﺍﻑ ﺑﻬﻢ‬

‫ﻭﺳﻴﻠﺔ"ﺭﺵ ﺍﻟﻄﻼء ﻋﻠﻰ ﻣﻌﻈﻢ ﺍﻟﻘﻄﺎﺭﺍﺕ ﺃﻭ ﺃﻓﻀﻞ ﺍﻟﻘﻄﻊ"‪ ،‬ﻟﻜﻦ ﻓﻨﺎﻥ ﺍﻟﺸﺎﺭﻉ ﻫﻮ ﻣﻦ ﻓﻌﻞ ﺫﻟﻚ‬

‫"ﺃﺭﺍﺩ ﺍﻟﺘﻮﺍﺻﻞ ﻣﻊ ﺍﻟﻤﺎﺭﺓ ﺃﻭ ﺗﺸﻜﻴﻞ ﺑﻴﺉﺘﻬﻢ ﺩﻭﻥ ﺃﻱ ﻗﻴﻮﺩ"‬

‫)‪ .(9‬ﻳﺒﻘﻰ ‪ ،Spraypaint‬ﻛﺄﺩﺍﺓ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻷﺻﻠﻴﺔ‪ ،‬ﺃﻣﺮﺍً ﺣﻴﻮﻳﺎً ﻟﻔﻨﺎﻧﻲ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻭﻟﻜﻦ‬

‫"ﺇﻥ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻤﻮﺍﺩ ﺍﻟﻤﺘﺎﺣﺔ ﻫﺬﻩ ﺍﻷﻳﺎﻡ ‪ -‬ﺍﻟﻄﻼء ﺍﻟﺰﻳﺘﻲ ﺃﻭ ﺍﻷﻛﺮﻳﻠﻴﻚ‪ ،‬ﻭﺍﻟﺒﺨﺎﺧﺔ‪ ،‬ﻭﺍﻟﻄﺒﺎﺷﻴﺮ ﺍﻟﺰﻳﺘﻲ‪،‬‬

‫ﺍﻟﻤﻠﺼﻘﺎﺕﻭﺍﻟﻤﻠﺼﻘﺎﺕ‪ ،‬ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﻤﺜﺎﻝ ﻻ ﺍﻟﺤﺼﺮ‪ ،‬ﻭﺍﺳﻌﺔ ﺍﻟﻨﻄﺎﻕ ﻭﻭﺳﻌﺖ ﺍﻟﻨﻄﺎﻕ ﻓﻨﻴﺎً" )‪.(10‬‬

‫ﺗﺴﺘﻤﺮﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﺘﻄﻮﺭ‪ ،‬ﺣﻴﺚ ﺃﻥ ﻃﺒﻴﻌﺔ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻫﻲ ﺗﺠﺮﺑﺔ ﺗﻘﻨﻴﺎﺕ ﺟﺪﻳﺪﺓ‬

‫ﻓﻲﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﻳﺆﺩﻱ ﺇﻟﻰ ﺍﻟﺘﺤﻮﻝ ﻣﻦ "ﺍﻟﻤﻔﻬﻮﻡ ﺍﻷﺻﻠﻲ ﺇﻟﻰ ﻣﺠﺎﻻﺕ ﻣﺨﺘﻠﻔﺔ ﺗﻤﺎﻣﺎ‪ .‬ﻓﻴﻪ‬

‫ﻣﺤﺮﻛﻬﺎﺍﻹﺑﺪﺍﻋﻲ‪ ،‬ﻓﻬﻲ ﺗﺘﺠﺎﻭﺯ ﺣﺪﻭﺩﻫﺎ ﺑﺎﺳﺘﻤﺮﺍﺭ ﺣﻴﺚ ﺗﺒﺘﻜﺮ ﺍﺧﺘﻼﻓﺎﺕ ﺟﺪﻳﺪﺓ ﺭﺍﺉﻌﺔ‬

‫ﻟﺠﻠﺐﺍﻟﺤﻴﺎﺓ ﻭﺍﻟﻠﻮﻥ ﺇﻟﻰ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ ")‪.(372‬‬

‫ﺑﻴﻨﻤﺎﻛﺎﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻳﺤﺪﺙ ﻃﻮﺍﻝ ﺍﻟﺴﺒﻌﻴﻨﻴﺎﺕ‪ ،‬ﻟﻢ ﻳﻜﻦ ﺍﻷﻣﺮ ﻛﺬﻟﻚ ﺣﺘﻰ ﺍﻟﺘﺴﻌﻴﻨﻴﺎﺕ‪.‬‬

‫ﺳﻴﺪﺧﻞﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻓﻲ ﻃﻠﻴﻌﺔ ﺍﻟﻮﻋﻲ ﺍﻟﻌﺎﻡ‪ .‬ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺇﻟﻰ‬

‫ﻳﻌُﺰﻯﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺇﻟﻰ ﺣﺪ ﻛﺒﻴﺮ ﺇﻟﻰ ﻣﻌﺮﻛﺔ ﻋﻤﺪﺓ ﺍﻟﻤﺪﻳﻨﺔ ﺇﺩ ﻛﻮﺥ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﻗﻄﺎﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻓﻲ ﻋﺎﻡ ‪.1989‬‬

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 ‫"ﺃﺻﺒﺢ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺭﻣﺰﺍً ﻟﻤﻮﻗﻒ ﻣﻌﻴﻦ‪ .‬ﻣﺜﻠﻤﺎ ﻛﺎﻧﺖ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺭﻣﺰﺍً ﻣﺮﺉﻴﺎً‬

‫ﻣﻦﺑﻴﻦ ﻛﻞ ﻣﺎ ﻳﺘﻌﻠﻖ ﺑﻤﻮﺳﻴﻘﻰ ﺍﻟﻬﻴﺐ ﻫﻮﺏ ﻓﻲ ﺍﻟﺜﻤﺎﻧﻴﻨﻴﺎﺕ‪ ،‬ﻳﺮﺗﺒﻂ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﺭﺗﺒﺎﻃﺎً ﻭﺛﻴﻘﺎً ﺑﺎﻟﺮﻋﺎﻳﺔ ﻭﺍﻟﻤﺸﺎﺭﻛﺔ "ﺑﺪﻭﻥ ﺷﻌﺎﺭ"‬

‫ﺍﻟﺘﻤﺮﺩﺍﻟﻤﻨﺎﻫﺾ ﻟﻠﺮﺃﺳﻤﺎﻟﻴﺔ" )‪ .(81‬ﺗﻤﺎﻣﺎً ﻛﻤﺎ ﺗﻄﻮﺭ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻓﺈﻥ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻧﻔﺴﻪ ﺗﻄﻮﺭ ﺃﻳﻀﺎً‬

‫ﺗﺘﻄﻮﺭﺑﺎﺳﺘﻤﺮﺍﺭ‪ .‬ﺇﻧﻪ ﻳﻤﺜﻞ ﺃﺳﻠﻮﺑﺎً ""ﻓﻲ ﻭﺟﻬﻚ"‪ ،‬ﻣﻨﺎﻫﺾ ﻟﻠﺴﻠﻄﻮﻳﺔ‪ ،‬ﻭﻏﻴﺮ ﻣﺤﺘﺮﻡ‪،‬‬

‫ﻻﻳﻤﻜﻦ ﻛﺒﺘﻪ‪ ،‬ﺣﻜﻴﻢ‪ ،‬ﺳﺎﺧﺮ‪] ،‬ﻭﻳﻌﻤﻞ ﺃﻳﻀﺎً ﻛﺼﻮﺕ[ ﻟﻠﻀﻌﻔﺎء ﻭﺍﻟﻔﻘﺮﺍء‪.‬‬

‫)ﻟﻮﻳﺲ ‪ .(8‬ﻭﻟﻬﺬﺍ ﺍﻟﺴﺒﺐ‪ ،‬ﺃﺣﺪﺙ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺛﻮﺭﺓ ﻓﻲ ﺍﻟﻌﺎﻟﻢ‪ .‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﻫﻨﺎﻙ ﺑﻌﺾ‬

‫ﻫﻨﺎﻙﺗﻘﺎﻃﻊ ﺑﻴﻦ ﺍﻟﻨﻮﻉ ﺍﻟﻔﺮﻋﻲ ﻟﻔﻦ ﺍﻟﺸﺎﺭﻉ ﻭﺳﺎﺑﻘﻪ‪ ،‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﺑﺸﻜﻞ ﻣﺘﻤﻴﺰ‬

‫ﺍﻻﺧﺘﻼﻓﺎﺕﻓﻲ ﺍﻟﺸﻜﻞ ﻭﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﻮﺳﻴﻠﺔ ﻭﺍﻟﻐﺮﺽ‪ .‬ﻳﻤﺜﻞ ﻣﺼﻄﻠﺢ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻧﻔﺴﻪ ﻧﻄﺎﻗﺎً ﻭﺍﺳﻌﺎً‬

‫ﻣﺠﻤﻮﻋﺔﻣﻦ "ﺍﻟﻔﻨﺎﻧﻴﻦ ﺍﻟﺬﻳﻦ ﻳﻌﻤﻠﻮﻥ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ ﺑﻄﺮﻕ ﻋﺪﻳﺪﺓ ﻭﻣﺨﺘﻠﻔﺔ" )‪ .(15‬ﻳﻨﻘﻄﻊ ﻣﻦ‬

‫"ﺗﻘﻠﻴﺪ ﺍﻟﻌﻼﻣﺔ‪ ،‬ﻭ]ﺃﻳﻀﺎً[ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺍﻟﺮﻣﻮﺯ ﺍﻟﻤﺮﺉﻴﺔ ﺍﻟﺘﻲ ﺗﺸﻤﻞ ﻧﻄﺎﻗﺎً ﺃﻭﺳﻊ ﺑﻜﺜﻴﺮ ﻣﻦ‬

‫ﻭﺳﺎﺉﻞﺍﻹﻋﻼﻡ ﻣﻤﺎ ﻗﺪ ﻳﺴﺘﺨﺪﻣﻪ ﻛﺘﺎﺏ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ")‪ .(21‬ﻓﻲ ﺣﻴﻦ ﺗﻘﺪﻡ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺃﻛﺜﺮ ﺗﻮﺣﻴﺪﺍ‬

‫ﺍﻟﻠﻐﺔ‪،‬ﻳﻤﻴﻞ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺇﻟﻰ ﻋﻜﺲ ﺍﻟﻤﻜﺎﻥ ﺍﻟﺬﻱ ﺗﻢ ﺗﺜﺒﻴﺘﻪ ﻓﻴﻪ ﺣﻴﺚ ﻳﺴﺘﺨﺪﻡ ﺍﻟﻔﻨﺎﻧﻮﻥ ﻣﻬﺎﺭﺍﺗﻬﻢ‬

‫ﺍﻟﺒﻴﺉﺔﺍﻟﻤﺤﻴﻄﺔ ﺑﻄﺮﻕ ﺇﺑﺪﺍﻋﻴﺔ‪ .‬ﻳﻤﻜﻦ ﺃﻥ ﻳﺘﺠﻠﻰ ﺫﻟﻚ ﻓﻲ ﻋﻤﻞ ﺃﻧﺪﺭﺳﻮﻥ ﺃﻭﻏﻮﺳﺘﻮ ﻭ‬

‫ﺍﻟﺸﻜﻞ‪ – 3‬ﻣﺸﺮﻭﻉ ﺃﻭﻏﻮﺳﺘﻮ ﻭﺩﻳﻼﻓﻮﻳﻨﺘﻲ ‪6‬ﺇﻣﻴﻠﻴﺎ‬

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‫ﻟﻴﻮﻧﺎﺭﺩﻭﺩﻳﻼﻓﻮﻳﻨﺘﻲ ﺍﻟﺬﻱ ﻳﺴﺘﺨﺪﻡ ﻣﺸﺮﻭﻋﻪ ‪ 6emelia‬ﺗﺮﻛﻴﺒﺎﺕ ﺍﻟﺸﻮﺍﺭﻉ ﻭﻣﺼﺎﺭﻑ ﺍﻟﻌﻮﺍﺻﻒ‬

‫ﺍﻹﺩﻻءﺑﺒﻴﺎﻥ )ﺍﻟﺸﻜﻞ ‪ .(3‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻳﻤﺜﻞ ﻣﺎ ﻳﻠﻲ‪:‬‬

‫ﺍﻵﺭﺍءﺍﻟﺴﻴﺎﺳﻴﺔ ﻟﻠﻤﺒﺪﻋﻴﻦ ﻭﺭﻏﺒﺎﺗﻬﻢ ﺍﻹﺑﺪﺍﻋﻴﺔ‪ ،‬ﺗﺘﻐﻴﺮ ﻣﻦ ﺑﻠﺪ ﺇﻟﻰ ﺁﺧﺮ‬

‫ﺍﻟﺒﻼﺩ‪،‬ﻭﺣﺘﻰ ﻣﻦ ﻣﻨﻄﻘﺔ ﺇﻟﻰ ﺃﺧﺮﻯ‪ .‬ﻣﺜﻠﻤﺎ ﺃﻥ ﺍﻟﻔﻦ ﻓﻲ ﺍﻟﻤﺘﺎﺣﻒ ﻫﻮ ﺍﻧﻌﻜﺎﺱ ﻟﻠﻮﺍﻗﻊ‬

‫ﺍﻟﺜﻘﺎﻓﺎﺕﺍﻟﺘﻲ ﺃﻧﺘﺠﺘﻪ‪ ،‬ﻳﻜﺸﻒ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻋﻦ ﺍﻟﺴﺮﺩ ﺍﻟﺨﻔﻲ ﻷﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ ﻳﺼﻨﻌﻮﻧﻪ‬

‫ﻫﻮ‪ -‬ﻫﻲ‪(65) .‬‬

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 ‫ﺍﻟﻔﺼﻞ‪3‬‬

‫ﺗﺴﻠﻴﻢﺍﻟﺮﺳﺎﻟﺔ‬

‫ﻳﻐﻨﻲﺑﻮﻝ ﺳﺎﻳﻤﻮﻥ ﻭﺁﺭﺕ ﺟﺎﺭﻓﺎﻧﻜﻞ ﻓﻲ ﺃﻏﻨﻴﺘﻬﻤﺎ "ﺻﻮﺕ ﺍﻟﺼﻤﺖ" ﺃﻥ "‬

‫ﻛﻠﻤﺎﺕﺍﻷﻧﺒﻴﺎء ﻛﺎﻧﺖ ﻣﻜﺘﻮﺑﺔ ﻋﻠﻰ ﺟﺪﺭﺍﻥ ﻣﺘﺮﻭ ﺍﻷﻧﻔﺎﻕ ﻭﻗﺎﻋﺎﺕ ﺍﻟﻤﺴﻜﻦ‪ .‬ﻫﺬﻩ ﺍﻟﻜﻠﻤﺎﺕ‬

‫ﺗﻮﺿﻴﺢﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﻲ ﻳﻤﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﺑﻬﺎ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻭﺳﻴﻠﺔ ﻗﻮﻳﺔ ﻟﻠﻮﺻﻮﻝ ﺇﻟﻰ ﺍﻟﺠﻤﻬﻮﺭ‬

‫ﻣﻦﺃﺟﻞ ﺭﻓﻊ ﻣﺴﺘﻮﻯ ﺍﻟﻮﻋﻲ ﺑﺎﻟﻘﻀﺎﻳﺎ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ‪ .‬ﻓﻨﺎﻧﻮ ﺍﻟﺸﻮﺍﺭﻉ ﻟﻴﺲ ﻟﺪﻳﻬﻢ ﺃﻱ ﻧﻴﺔ ﻟﻠﺘﻐﻴﻴﺮ‬

‫ﺍﻟﻄﺮﻳﻘﺔﺍﻟﺘﻲ ﻧﻌﺮﻑّ ﺑﻬﺎ ﺍﻟﻔﻦ‪ ،‬ﻭﻟﻜﻦ ﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ‪ ،‬ﻧﺤﺎﻭﻝ "ﺍﻟﺘﺸﻜﻴﻚ ﻓﻲ ﺍﻟﺒﻴﺉﺔ ﺍﻟﺤﺎﻟﻴﺔ"‪.‬‬

‫ﻟﻐﺘﻬﺎﺍﻟﺨﺎﺻﺔ” )ﺷﻮﺍﺭﺗﺰﻣﺎﻥ(‪ .‬ﻓﻲ ﻛﺘﺎﺑﻪﻓﻦ ﺍﻟﺸﺎﺭﻉ‪،‬ﻳﻘﻮﻝ ﺁﻻﻥ ﺷﻮﺍﺭﺗﺰﻣﺎﻥ ﺃﻥ‬

‫ﻳﻬﺪﻑﻋﻤﻞ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﺇﻟﻰ "ﺍﻟﺘﻮﺍﺻﻞ ﻣﻊ ﺍﻷﺷﺨﺎﺹ ﺍﻟﻌﺎﺩﻳﻴﻦ ﺣﻮﻝ ﺍﻷﻣﻮﺭ ﺫﺍﺕ ﺍﻟﺼﻠﺔ ﺍﺟﺘﻤﺎﻋﻴﺎً‬

‫ﻣﻮﺿﻮﻋﺎﺕﺑﻄﺮﻕ ﺗﺴﺘﺮﺷﺪ ﺑﺎﻟﻘﻴﻢ ﺍﻟﺠﻤﺎﻟﻴﺔ ﺩﻭﻥ ﺃﻥ ﺗﻜﻮﻥ ﺳﺠﻴﻨﺔ ﻟﻬﺎ‪ .‬ﻷﻥ‬

‫"ﺍﻟﺘﺄﺛﻴﺮ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻟﺴﻴﺎﺳﻲ ﻭﺍﻻﻗﺘﺼﺎﺩﻱ ﻟﻌﺎﻟﻢ ﺍﻟﻔﻦ" ﻫﻲ ﺭﺳﺎﺉﻞ )ﺳﺘﻮﺭﺯ(‪.‬‬

‫ﻳﺘﻢﺗﻘﺪﻳﻤﻬﺎ ﺑﻔﻌﺎﻟﻴﺔ ﻭﺩﻭﻥ ﻋﻨﺎء ﺗﻘﺮﻳﺒﺎً ﻣﻦ ﺧﻼﻝ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‪.‬‬

‫ﻓﻲﻣﻘﺎﻝ ﺟﻮﺭﺝ ﺳﺘﻮﻭﺭﺯ‪“ ،‬ﻓﻦ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ‪ :‬ﻣﻘﺎﻝ ﺣﻮﻝ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻟﺒﻌﺾ‬

‫ﻳﻘﻮﻝ‪:‬ﺃﺷﻜﺎﻝ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻛﻔﻦ‪:‬‬

‫ﻓﻲﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ ﻋﻨﺪﻣﺎ ﻧﻮﺍﺟﻪ ﺍﻟﻔﻦ ﻭﻧﻨﺘﻘﻞ ﺑﻪ ﺇﻟﻰ ﻋﻮﺍﻟﻢ ﺃﺧﺮﻯ‪،‬‬

‫ﻧﺤﻦﻓﻲ ﻣﻜﺎﻥ ﻧﺘﻮﻗﻊ ﺃﻥ ﻳﺤﺪﺙ ﻓﻴﻪ ﻫﺬﺍ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻟﻴﺲ ﻫﺬﺍ ﻫﻮ‬

‫ﺣﺎﻟﺔﻣﻊ ﻓﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ]ﻭﺍﻟﺸﺎﺭﻉ[‪ .‬ﻷﻧﻪ ﻳﻈﻬﺮ ﻓﺠﺄﺓ ﻭﺑﺸﻜﻞ ﻏﻴﺮ ﻣﺘﻮﻗﻊ‬

‫ﺃﻣﺎﻛﻦ‪.‬ﻭﻫﻜﺬﺍ‪ ،‬ﻋﻨﺪﻣﺎ ﻧﺪﺭﻛﻪ‪ ،‬ﻧﻨﺘﻘﻞ ﺇﻟﻰ ﻫﺬﻩ ﺍﻟﻌﻮﺍﻟﻢ ﺍﻷﺧﺮﻯ ﻓﻲ ﻭﻗﺖ ﻭﺍﺣﺪ‬

‫ﻓﻲﺍﻟﺰﻣﺎﻥ ﻭﺍﻟﻤﻜﺎﻥ ﺍﻟﺬﻱ ﻟﻢ ﻧﻌﺘﺪ ﻋﻠﻴﻪ‪.‬‬

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 ‫ﺇﻣﻜﺎﻧﻴﺔﺍﻟﻮﺻﻮﻝ‬

‫ﺇﻥﺇﻣﻜﺎﻧﻴﺔ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺗﺴﺎﻫﻢ ﻓﻲ ﻗﻮﺗﻪ‪ ،‬ﻛﻤﺎ ﺫﻛﺮ ﺇﻧﺠﻠﻴﺶ‬

‫ﻓﻨﺎﻥﺍﻟﺸﺎﺭﻉ ﺑﺎﻧﻜﺴﻲ‪" ،‬ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻫﻮ ﺍﻟﺬﻱ ﻳﻔﻮﺯ ﻓﻲ ﺍﻟﻨﻬﺎﻳﺔ ﻷﻧﻪﻳﺼﺒﺢ ﺟﺰءﺍً ﻣﻦ‬

‫ﻣﺪﻳﻨﺘﻚ‪،‬ﺇﻧﻬﺎ ﺃﺩﺍﺓ‪ .‬ﻳﻘﻮﻝ‪" :‬ﺇﻥ ﺍﻟﺠﺪﺍﺭ ﺳﻼﺡ ﻛﺒﻴﺮ ﺟﺪﺍً‪ ،‬ﻭﻫﻮ ﻣﻦ ﺃﻛﺜﺮ ﺍﻷﺷﻴﺎء ﺷﺮﺍً‬

‫ﻳﻤﻜﻨﻚﺿﺮﺏ ﺷﺨﺺ ﻣﺎ‪ ".‬ﻳﻤﻀﻲ ﺳﺘﻮﺭﺯ ﻓﻲ ﺍﻹﺷﺎﺭﺓ ﻓﻲ ﻣﻘﺎﻟﺘﻪ ﺇﻟﻰ ﺃﻥ ﺍﻟﻔﻦ‬

‫"ﺍﻟﻜﺘﺎﺑﺔ" ﻫﻲ "ﻃﺮﻳﻘﺔ ﺇﺑﺪﺍﻋﻴﺔ ﻟﻠﺘﻮﺍﺻﻞ ﻣﻊ ﺍﻟﻜﺘﺎﺏ ﺍﻵﺧﺮﻳﻦ ﻭﺍﻟﻌﺎﻣﺔ‬

‫ﺍﻟﺠﻤﻬﻮﺭ… ﻫﻮﻳﺔ ﺍﻟﻔﻨﺎﻥ ﻭﺗﻌﺒﻴﺮﻩ ﻭﺃﻓﻜﺎﺭﻩ‪ .‬ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﺘﻮﺍﺻﻞ ﺃﻣﺮ ﺣﻴﻮﻱ‬

‫ﺑﺴﺒﺐﻗﺪﺭﺗﻬﺎ ﻋﻠﻰ ﺭﺑﻂ “ﺍﻟﻨﺎﺱ ]ﻣﻌﺎ ً[ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺃﻭ ﺍﻟﻠﻐﺔ ﺃﻭ ﺍﻟﻌﺮﻕ‬

‫ﺍﻻﺧﺘﻼﻓﺎﺕﺑﻄﺮﻕ ﻻ ﻳﻤﻜﻦ ﻷﻱ ﺷﻲء ﺁﺧﺮ ﺍﻟﻘﻴﺎﻡ ﺑﻬﺎ‪".‬‬

‫ﻓﻲﻛﺘﺎﺑﻪﺍﻻﺣﺘﺠﺎﺝ ﺍﻟﺴﻴﺎﺳﻲ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ :‬ﺃﺩﻭﺍﺕ ﺷﻌﺒﻴﺔ ﻹﺭﺳﺎء ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴﺔ ﻓﻲ‬

‫ﺑﻠﺪﺍﻥﺍﺳﺒﺎﻧﻴﺔ‪،‬ﻳﺴﺘﻜﺸﻒ ﻟﻴﻤﺎﻥ ﺗﺸﺎﻓﻲ ﺗﻌﻘﻴﺪﺍﺕ ﺍﻟﺘﻮﺍﺻﻞ ﻭﺍﻟﺘﻔﺎﻋﻞ‬

‫ﻣﺠﻤﻮﻋﺔﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺍﻟﻄﺮﻕ ﺍﻟﺘﻲ ﻳﺘﻢ ﺑﻬﺎ ﻧﻘﻞ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ‪ .‬ﻳﺬﻛﺮ ﺃﻥ ﺃﻧﻈﻤﺔ ﺍﻻﺗﺼﺎﻻﺕ ﻫﻲ‬

‫ﺗﻢﺇﻧﺸﺎﺅﻫﺎ ﻟﻠﺴﻤﺎﺡ "ﻟﻠﺤﻜﻮﻣﺎﺕ ﻭﺍﻟﻤﻨﻈﻤﺎﺕ ﻭﺍﻷﻓﺮﺍﺩ ﺑﺘﻘﺪﻳﻢ ﻋﺮﻭﺿﻬﻢ‪".‬‬

‫ﺍﻵﺭﺍءﻭﺍﻟﻤﻄﺎﻟﺐ ﻭﺍﻻﺣﺘﻴﺎﺟﺎﺕ ﻭﺍﻷﻓﻜﺎﺭ" )‪ .(3‬ﻛﻴﻒ ﺗﺘﺸﻜﻞ ﺃﻧﻈﻤﺔ ﺍﻻﺗﺼﺎﻻﺕ ﻫﺬﻩ‬

‫ﻳﻌﺘﻤﺪﻣﺠﺘﻤﻊ ﻣﻌﻴﻦ ﻋﻠﻰ ﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﻟﻈﺮﻭﻑ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﻧﻮﻉ ﺍﻟﻨﻈﺎﻡ ﺍﻟﺴﻴﺎﺳﻲ‬

‫ﺍﻟﻤﻮﺟﻮﺩﺣﺎﻟﻴﺎ )‪ .(3‬ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﻳﻨﺸﺄ ﺗﺪﻓﻖ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﻣﻦ ﺍﻷﺳﻔﻞ ﺑﻮﺍﺳﻄﺔ‬

‫ﺍﻟﻤﺠﻤﻮﻋﺎﺕﺍﻟﺸﻌﺒﻴﺔ"‪ ،‬ﻭﺃﻓﻀﻞ ﻣﺜﺎﻝ ﻋﻠﻰ ﺫﻟﻚ ﻫﻮ "ﻓﻨﻮﻥ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﻤﺴﻴﺴﺔ ﻭﺍﻟﺮﺳﻮﻣﺎﺕ"‬

‫)‪ .(3‬ﻧﻈﺮﺍً ﻟﻠﻄﺒﻴﻌﺔ ﺍﻟﻌﺎﻟﻤﻴﺔ ﻟﻔﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﻳﻤﻜﻦ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻴﻪ ﻛﻮﺳﻴﻠﺔ ﻟـ‬

‫ﺍﻻﺗﺼﺎﻝﺍﻟﺠﻤﺎﻫﻴﺮﻱ ﻷﻧﻪ ﻳﻮﻓﺮ ﺻﻮﺗﺎً ﻷﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ "ﺑﺨﻼﻑ ﺫﻟﻚ ﻻ ﻳﻤﻜﻨﻬﻢ ﺍﻟﺘﻌﻠﻴﻖ‬

‫ﻋﻠﻰﺃﻭ ﺗﺪﻋﻢ ﺍﻟﻤﺸﺎﻛﻞ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﺤﺎﻟﻴﺔ ﺃﻭ ﺍﻟﻤﺘﺼﻮﺭﺓ" )‪ .(4-3‬ﻳﺬﻛﺮ ﺗﺸﺎﻓﻲ ﺃﻥ ﺍﻟﻔﻦ‬

‫ﻳﻤﻜﻦﻟﻠﺸﻜﻞ ﺃﻥ "ﻳﺸﻜﻞ ﻭﻳﺤﺮﻙ ﺍﻟﻤﺸﺎﻋﺮ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﻳﻘﻴﺲ ﺍﻟﻤﺸﺎﻋﺮ ﺍﻟﺴﻴﺎﺳﻴﺔ" )‪ .(4‬ﻷﻥ‬

‫"ﺍﻟﻠﻐﺔ ﻭﺍﻟﺮﻣﻮﺯ ﺍﻟﻤﺮﺉﻴﺔ ﺗﺴﺎﻋﺪ ﻓﻲ ﺗﺸﻜﻴﻞ ﺍﻹﺩﺭﺍﻙ"‪ ،‬ﻭ"ﺍﻟﻜﻠﻴﺸﻴﻬﺎﺕ ﻭﺍﻟﺸﻌﺎﺭﺍﺕ ﻭﺍﻷﺷﻴﺎء"‪.‬‬

‫"ﺍﻟﺮﻣﻮﺯ ‪ -‬ﺟﻮﻫﺮ ﺍﻟﺨﻄﺎﺏ ﺍﻟﺴﻴﺎﺳﻲ" ﺍﻟﺬﻱ ﻳﺘﻢ ﺗﻮﺻﻴﻠﻪ ﻋﻦ ﻃﺮﻳﻖ ﻓﻦ ﺍﻟﺸﺎﺭﻉ "ﺍﻟﻤﺴﺎﻋﺪﺓ"‪.‬‬

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 ‫]ﻟﺘﻌﺒﺉﺔ[ ﺍﻟﻨﺎﺱ” )‪ .(4‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻛﻮﺳﻴﻠﺔ ﻟﻠﺘﻮﺍﺻﻞ ﻫﻮ ﺃﻛﺜﺮ ﻣﻦ ﺫﻟﻚ‬

‫ﺃﻣﺮﺣﻴﻮﻱ ﻓﻲ ﻇﻞ "ﺍﻷﻧﻈﻤﺔ ﺍﻟﻘﻤﻌﻴﺔ ﺣﻴﺚ ﺗﺤﺎﻭﻝ ﺍﻷﻧﻈﻤﺔ ﺍﻻﺳﺘﺒﺪﺍﺩﻳﺔ ﺗﻘﻠﻴﺺ ﺍﻟﺠﻤﻬﻮﺭ‬

‫ﺍﻟﻔﻀﺎء" )‪ .(4‬ﻳﻘﻮﻝ ﺷﺎﻓﻲ ﺇﻥ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ "ﻳﻜﺴﺮ ﻣﺆﺍﻣﺮﺓ ﺍﻟﺼﻤﺖ"‪:‬‬

‫ﻣﺜﻞﺍﻟﺼﺤﺎﻓﺔ‪ ،‬ﺃﺣﺪ ﺃﺩﻭﺍﺭ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻫﻮ ﺗﺸﻜﻴﻞ ﺍﻟﻮﻋﻲ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ .‬ﻓﻲ‬

‫ﺍﻷﻧﻈﻤﺔﺍﻻﺳﺘﺒﺪﺍﺩﻳﺔ ﺣﻴﺚ ﺗﻜﻮﻥ ﻣﻨﺎﻓﺬ ﺣﺮﻳﺔ ﺍﻟﺘﻌﺒﻴﺮ ﻣﺤﺪﻭﺩﺓ‪ ،‬ﻓﻬﻲ ﻭﺍﺣﺪﺓ ﻣﻦ‬

‫ﻣﻘﺎﻳﻴﺲﻗﻠﻴﻠﺔ ﻟﻠﻤﺸﺎﻋﺮ ﺍﻟﺴﻴﺎﺳﻴﺔ‪ .‬ﻓﻲ ﺍﻷﻧﻈﻤﺔ ﺍﻷﻛﺜﺮ ﺍﻧﻔﺘﺎﺣﺎً‪ ،‬ﻳﺘﻴﺢ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﺷﻜﺎﻝ‬

‫ﺍﻟﻜﻴﺎﻧﺎﺕﻟﻠﻀﻐﻂ ﻣﻦ ﺃﺟﻞ ﻣﺼﺎﻟﺤﻬﺎ‪ .‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﻓﻲ ﺟﻮﻫﺮﻩ‪ ،‬ﻳﺸﻴﺮ ﺿﻤﻨﺎ ﺇﻟﻰ ﺍﻟﻼﻣﺮﻛﺰﻳﺔ‪،‬‬

‫ﺷﻜﻞﺩﻳﻤﻘﺮﺍﻃﻲ ﻳﺘﻮﻓﺮ ﻓﻴﻪ ﺍﻟﻮﺻﻮﻝ ﺍﻟﺸﺎﻣﻞ ﻭﺍﻟﺴﻴﻄﺮﺓ ﺍﻟﺤﻘﻴﻘﻴﺔ‬

‫ﺍﻟﺮﺳﺎﺉﻞﺗﺄﺗﻲ ﻣﻦ ﺍﻟﻤﻨﺘﺠﻴﻦ ﺍﻻﺟﺘﻤﺎﻋﻴﻴﻦ‪(4) .‬‬

‫ﺟﻤﺎﻟﻴﺎﺕﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﺗﺴﺎﻫﻢﺟﻤﺎﻟﻴﺎﺕ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻓﻲ ﺗﺄﺛﻴﺮ ﺭﺳﺎﻟﺘﻪ‪ .‬ﺍﻟﻔﻨﺎﻧﻴﻦ‪ ،‬ﻣﻤﺎﺛﻠﺔ‬

‫ﺑﺎﻟﻨﺴﺒﺔﻟﻠﻤﻌﻠﻨﻴﻦ ﺍﻟﺘﺠﺎﺭﻳﻴﻦ‪ ،‬ﺿﻊ ﻓﻲ ﺍﻋﺘﺒﺎﺭﻙ ﺗﺄﺛﻴﺮ ﺍﻟﻠﻮﻥ ﻭﺍﻟﺘﺼﻤﻴﻢ ﻋﻨﺪ ﺍﻟﺘﻮﺍﺻﻞ ﻣﻌﻬﻢ‬

‫ﺟﻤﻬﻮﺭﻫﻢ‪.‬ﻳﻮﺿﺢ ﺗﺸﺎﻓﻲ ﺃﻥ ﺍﻟﻠﻮﻥ ﻳﺴُﺘﺨﺪﻡ ﻛﻮﺳﻴﻠﺔ ﻟﻠﺘﻼﻋﺐ ﺑﺎﻟﻌﻮﺍﻃﻒ‪ .‬ﻳﺼﺮﺡ‬

‫ﺃﻥﺍﻷﻟﻮﺍﻥ ﺍﻟﺪﺍﻓﺉﺔ ‪ -‬ﺍﻟﻈﻼﻝ ﺍﻟﻨﺎﺑﻀﺔ ﺑﺎﻟﺤﻴﺎﺓ ﻣﺜﻞ ﺍﻷﺣﻤﺮ ﻭﺍﻟﺒﺮﺗﻘﺎﻟﻲ ﻭﺍﻷﺻﻔﺮ ‪" -‬ﺗﻮﻟﺪ ﺷﻌﻮﺭﺍ ًﺑﺎﻻﻧﺘﻌﺎﺵ"‪.‬‬

‫ﺍﻹﺛﺎﺭﺓ"‪ ،‬ﺑﻴﻨﻤﺎ ﻳﻤﺜﻞ ﺍﻟﻠﻮﻧﺎﻥ ﺍﻷﺣﻤﺮ ﻭﺍﻷﺳﻮﺩ ﺍﻟﻌﺎﻃﻔﺔ ﻭﻳﻨﻘﻼﻥ "ﻣﺸﺎﻋﺮ ﺍﻟﺜﻮﺭﺓ‪ ،‬ﻭﺍﻟﻤﻮﺕ‪،‬‬

‫ﻭﺍﻟﻌﻨﻒ" )‪ .(6‬ﺍﻟﻈﻼﻝ ﺍﻟﺰﺭﻗﺎء ﻭﺍﻟﺨﻀﺮﺍء – ﺍﻷﻟﻮﺍﻥ ﺍﻟﺒﺎﺭﺩﺓ – “ﺗﺪﻝ ﻋﻠﻰ ﺍﻟﻬﺪﻭء ﻭﺍﻟﻄﻤﺄﻧﻴﻨﺔ ﻭﺍﻟﻬﺪﻭء‬

‫ﺍﻟﺒﻴﺉﺔ"‪ ،‬ﻭﺫﻟﻚ ﺍﻟﻠﻮﻥ ﺍﻷﺑﻴﺾ ﻫﻮ ﺭﻣﺰ "ﺍﻟﺴﻼﻡ ﻭﺍﻟﻨﻘﺎء")‪ .(6‬ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﻼﻋﺐ‬

‫ﻳﺘﻢﺗﻮﺻﻴﻞ ﺃﻟﻮﺍﻥ ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻭﺃﻧﻮﺍﻉ ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﺍﻟﺮﺳﺎﺉﻞ‪ ،‬ﻣﺜﻞ “ﺃﻟﻮﺍﻥ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻤﺘﻮﺍﺯﻳﺔ ﻭ‬

‫ﺍﻟﺮﺳﺎﻟﺔ" )‪ .(6‬ﻓﻲ ﺣﻴﻦ ﺃﻧﻪ ﻣﻦ ﺍﻟﺴﻬﻞ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﻫﺬﻩ ﺍﻻﺭﺗﺒﺎﻃﺎﺕ ﻣﻊ ﺍﻷﻟﻮﺍﻥ‪ ،‬ﺇﻻ ﺃﻧﻪ ﻣﻦ ﺍﻟﻤﺸﻜﻮﻙ ﻓﻴﻪ ﺃﻥ ﺗﻜﻮﻥ ﺟﻤﻴﻌﻬﺎ ﻣﻮﺟﻮﺩﺓ‬

‫ﻓﻨﺎﻧﻮﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻭﺍﻟﺸﻮﺍﺭﻉ ﻣﺠﺘﻬﺪﻭﻥ ﻓﻲ ﻋﻤﻠﻬﻢ‪ ،‬ﻭﻟﻜﻦ ﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ ﻳﻤﻜﻦ ﺗﻮﻗﻊ ﺍﺳﺘﺨﺪﺍﻣﻬﻢ‬

‫ﺍﻷﻟﻮﺍﻥﺍﻟﺘﻲ ﺗﺒﺘﻌﺪ ﻋﻦ ﻣﺎ ﻫﻮ ﺗﻘﻠﻴﺪﻱ‪.‬‬

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 ‫ﻳﺘﻢﺗﻜﺜﻴﻒ ﺍﻟﺮﺳﺎﺉﻞ ﺑﺸﻜﻞ ﺃﻛﺒﺮ ﻣﻦ ﺧﻼﻝ ﺍﻟﺸﻜﻞ ﻭﺍﻟﺘﺼﻤﻴﻢ ﻭﺍﻟﻤﻮﺿﻊ‪ .‬ﻣﻦ ﺃﺟﻞ ﺗﻌﻈﻴﻢ‬

‫ﺍﻟﺮﺅﻳﺔﻭﺍﻟﺘﺄﺛﻴﺮ ﺍﻟﺒﺼﺮﻱ‪ ،‬ﻳﺠﺐ ﻋﻠﻰ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻭﺿﻊ ﺃﻋﻤﺎﻟﻬﻢ ﻓﻲ ﻣﻨﺎﻃﻖ ﺫﺍﺕ ﺣﺮﻛﺔ ﻣﺮﻭﺭ ﻋﺎﻟﻴﺔ‪ ،‬ﻭﻗﻠﻴﻠﺔ‬

‫ﺍﻷﻣﺎﻛﻦﻣﺤﻈﻮﺭﺓ ﻓﻲ ﻋﺎﻟﻢ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ .‬ﺍﻟﻔﻨﺎﻧﻮﻥ ﻳﺪﺭﻛﻮﻥ ﺣﻘﻴﻘﺔ ﺃﻥ ﺃﻋﻤﺎﻟﻬﻢ ﻣﻮﺟﻮﺩﺓ‬

‫ﻣﻦﻏﻴﺮ ﺍﻟﻤﺮﺟﺢ ﺃﻥ ﻳﺘﻢ ﺍﻟﺤﻔﺎﻅ ﻋﻠﻴﻬﺎ‪ ،‬ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﺮﺳﺎﺉﻞ ﻭﺍﻟﺘﺼﻤﻴﻤﺎﺕ ﺍﻟﺘﻲ ﺳﻴﺘﻢ ﺍﺳﺘﻬﻼﻛﻬﺎ ﺑﺴﻬﻮﻟﺔ‪ .‬ﺍﻝ‬

‫ﻓﻲﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﻳﺘﻢ ﺫﻟﻚ ﺑﻴﻦ ﻋﺸﻴﺔ ﻭﺿﺤﺎﻫﺎ ﻋﻦ ﻃﺮﻳﻖ ﺗﻐﻠﻴﻒ ﻣﺪﻳﻨﺔ ﺃﻭ ﺑﻠﺪﺓ ﺑﺎﻟﻜﺎﻣﻞ )‪ .(7‬ﻓﻲ ﺑﻌﺾ ﺍﻟﺤﺎﻻﺕ‪،‬‬

‫ﻣﺪﺓﺍﻟﻌﻤﻞ ﻳﻤﻜﻦ ﺃﻥ ﺗﺴﺘﻤﺮ ﻋﺪﺓ ﺳﻨﻮﺍﺕ‪ .‬ﺍﻟﺠﺪﺍﺭﻳﺎﺕ ﻫﻲ ﻣﺜﺎﻝ ﻣﺜﺎﻟﻲ ﻋﻠﻰ ﺫﻟﻚ‪ .‬ﺳﺮﻳﻊ‪،‬‬

‫ﺗﺴُﺘﺨﺪﻡﺍﻟﺠﺪﺍﺭﻳﺎﺕ ﻏﻴﺮ ﺍﻟﻤﻜﻠﻔﺔ ﻭﺍﻟﻤﺨﺼﺼﺔ ﻟﻐﺮﺽ ﻓﻮﺭﻱ ﻟﻺﻋﻼﻡ ﻭﺍﻟﺘﺜﻘﻴﻒ )‪.(7‬‬

‫ﻳﺴﻌﻰﻫﺬﺍ ﺍﻟﻨﻤﻂ ﻣﻦ ﺍﻟﺘﻮﺍﺻﻞ ﺇﻟﻰ ﺍﻹﺷﺎﺭﺓ ﺇﻟﻰ ﺍﻟﻤﺸﻜﻼﺕ ﻭﻃﺮﺡ ﺃﺳﺉﻠﺔ ﺣﻮﻝ ﺃﻧﻈﻤﺔ ﺍﻟﻘﻴﻢ ﺍﻟﻤﻮﺟﻮﺩﺓ‬

‫ﺗﻘﺪﻳﻢﺍﻟﻤﻄﺎﻟﺒﺎﺕ ﻭﺍﻗﺘﺮﺍﺡ ﺍﻟﺒﺪﺍﺉﻞ )‪.(8‬‬

‫ﻓﻦﺍﻟﺸﺎﺭﻉ ﻛﺄﺩﺍﺓ‬

‫ﻳﻌﺪﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺑﻤﺜﺎﺑﺔ ﺃﺩﺍﺓ ﻟﻠﻤﻨﺎﺻﺮﺓ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﻣﻨﺘﺪﻯ ﻹﻋﺪﺍﺩ ﺍﻟﺘﻘﺎﺭﻳﺮ‪ .‬ﻳﻌﻤﻞ ﺍﺟﺘﻤﺎﻋﻴﺎ‬

‫ﻷﻧﻪﻳﺴﺎﻋﺪ ﻋﻠﻰ ﺗﺴﻠﻴﻂ ﺍﻟﻀﻮء ﻋﻠﻰ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻭﺗﺤﺪﻳﺪ ﺍﻟﻼﻋﺒﻴﻦ ﺍﻟﺮﺉﻴﺴﻴﻴﻦ‪ ،‬ﻭﺗﻘﺪﻳﻢ ﺍﻟﺘﻌﻠﻴﻘﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻭﺣﺘﻰ‬

‫ﺻﻴﺎﻏﺔﺍﻷﺟﻨﺪﺍﺕ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻟﺮﺅﻯ ﺍﻟﺤﺎﻟﻴﺔ )‪ .(8‬ﻳﻠﻌﺐ ﺩﻭﺭﺍً ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﻜﻮﻥ ﻣﺒﺎﺷﺮﺍً‬

‫ﻣﻌﺎﺭﺿﺔﻭﺳﺎﺉﻞ ﺍﻹﻋﻼﻡ‪ ،‬ﻣﻦ ﺧﻼﻝ ﺗﻘﺪﻳﻢ ﺗﻌﻠﻴﻘﺎﺗﻬﺎ ﻭﺍﻧﺘﻘﺎﺩﺍﺗﻬﺎ ﻭﺃﺳﺉﻠﺘﻬﺎ ﺍﻻﺳﺘﻘﺼﺎﺉﻴﺔ‪ .‬ﺣﺰﺑﻲ‬

‫ﻓﻲﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻟﻴﺲ ﻣﻠﺰﻣﺎً ﺑﺎﻟﺒﻘﺎء ﻣﺤﺎﻳﺪﺍً ﺃﻭ ﻏﻴﺮ ﻣﺘﺤﻴﺰ‪ ،‬ﻭﻟﻜﻨﻪ ﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ ﻳﻌﻤﻞ ﻋﻠﻰ ﺗﺤﻘﻴﻖ ﺫﻟﻚ‬

‫ﺍﻟﺘﺮﻭﻳﺞﻟﻘﻀﻴﺔ ﺃﻭ ﻓﻜﺮﺓ‪ .‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﺠﻤﻴﻊ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﻭﺟﻬﺔ ﻧﻈﺮﻫﻢ‬

‫ﻓﻄﺒﻴﻌﺘﻬﺎﺫﺍﺗﻬﺎ ﺑﻤﺜﺎﺑﺔ ﺳﺎﺣﺔ ﻟﻠﺘﻌﺒﻴﺮ ﻭﻟﻮﺣﺔ ﺻﻮﺗﻴﺔ ﻟﻠﻤﻬﻤﺸﻴﻦ‪.‬‬

‫ﺳﻮﺍءﻛﺎﻥ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻣﺴﻤﻮﺣﺎً ﺑﻪ ﺃﻭ ﻏﻴﺮ ﻣﺼﺮﺡ ﺑﻪ‪ ،‬ﻓﺈﻧﻪ ﻳﺘﺠﻠﻰ ﻓﻲ ﺍﻟﻔﻜﺮ ﺍﻟﺘﻌﺒﻴﺮﻱ‬

‫ﻳﺘﻢﺗﻮﺻﻴﻠﻬﺎ ﻣﺒﺎﺷﺮﺓ ﺇﻟﻰ ﺟﻤﻬﻮﺭﻫﺎ ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﺨﺪﺍﻡ "ﺍﻗﺘﺼﺎﺩ ﺍﻟﻜﻠﻤﺎﺕ ﻭﺍﻷﻓﻜﺎﺭ"‪.‬‬

‫"ﺍﻟﺨﻄﺎﺏ ﺍﻟﺒﺴﻴﻂ ﺍﻟﺒﻼﻏﻲ" )‪ .(9‬ﻧﺎﺩﺭﺍً ﻣﺎ ﻳﻜﻮﻥ ﻣﻦ ﺍﻟﺼﻌﺐ ﻓﻚ ﺗﺸﻔﻴﺮ ﺍﻟﺮﺳﺎﺉﻞ‪ .‬ﺑﺪﻻ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ‬

‫ﺗﻌﺘﻤﺪﻋﻠﻰ ﺭﺳﺎﺉﻞ ﺑﺴﻴﻄﺔ ﻭﻣﻮﺟﺰﺓ ﻭﺩﻣﺞ ﺍﻷﻓﻜﺎﺭ ﻭﺍﻵﺭﺍء ﻭﺍﻟﺘﻌﻠﻴﻘﺎﺕ ﻟﺒﺪء‬

‫ﺍﻟﺤﻮﺍﺭﺍﻟﺴﻴﺎﺳﻲ‪ .‬ﺇﻥ ﺍﻟﻤﺠﺎﻝ ﺍﻟﺴﻴﺎﺳﻲ ﺍﻟﻤﺘﻐﻴﺮ ﺑﺎﺳﺘﻤﺮﺍﺭ ﻳﺠﺒﺮ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻋﻠﻰ ﺃﻥ ﻳﻜﻮﻥ ﻗﺎﺑﻼ ًﻟﻠﺘﻜﻴﻒ ﺑﺪﺭﺟﺔ ﻛﺒﻴﺮﺓ؛ ﻣﺜﻞ‬

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‫ﻋﻨﺪﻇﻬﻮﺭ ﺍﻟﻤﺸﻜﻼﺕ‪ ،‬ﺗﺘﻐﻴﺮ ﻣﻮﺿﻮﻋﺎﺕ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻟﺘﻌﻜﺲ ﺍﻟﻤﺸﻜﻼﺕ ﺍﻟﺤﺎﻟﻴﺔ‪ .‬ﻳﻨﻌﻜﺲ ﻣﻦ ﺧﻼﻝ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪،‬‬

‫ﺍﻟﺠﺪﺍﺭﻳﺎﺕﻭﺍﻟﻤﻠﺼﻘﺎﺕ ﻭﺍﻟﻤﻠﺼﻘﺎﺕ‪ ،‬ﺍﻟﻔﻦ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ ﻳﻨﻘﻞ ﺍﻷﻓﻜﺎﺭ ﺣﻮﻝ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻟﻤﻠﺤﺔ‬

‫ﺫﺍﺕﻃﺒﻴﻌﺔ ﺳﻴﺎﺳﻴﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻗﺘﺼﺎﺩﻳﺔ ﻭﺛﻘﺎﻓﻴﺔ )‪.(9‬‬

‫ﺑﻴﻨﻤﺎﻳﺒﺚ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻟﺤﻴﺎﺓ ﻓﻲ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻳﻨﺸﺄ ﺣﻮﺍﺭ ﻣﺠﺘﻤﻌﻲ ﻋﻨﺪﻣﺎ ﻳﺒﺪﺃ ﺍﻟﻨﺎﺱ‬

‫ﻟﻄﺮﺡﺍﻷﺳﺉﻠﺔ‪ .‬ﺃﺻﺒﺢ ﺍﻟﻤﺎﺭﺓ‪ ،‬ﺍﻟﺬﻳﻦ ﺃﺟﺒﺮﻭﺍ ﺍﻵﻥ ﻋﻠﻰ ﺍﻟﺘﻔﻜﻴﺮ ﻓﻴﻤﺎ ﻳﺮﻭﻧﻪ‪ ،‬ﻋﻠﻰ ﺩﺭﺍﻳﺔ ﺑﺎﻷﻣﺮ‬

‫ﻭﺟﻮﺩﻭﻭﺟﻬﺔ ﻧﻈﺮ ﻟﺤﺮﻛﺔ ﺍﻟﻤﻘﺎﻭﻣﺔ ﺍﻟﺴﺮﻳﺔ ﺍﻟﻨﺸﻄﺔ‪ .‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ‬

‫ﻣﻌﺎﺭﺿﺔﺍﻹﻋﻼﻧﺎﺕ ﺍﻟﺘﺠﺎﺭﻳﺔ‪ ،‬ﺗﺴﻌﻰ ﺇﻟﻰ ﺗﺤﻴﻴﺪ ﺍﻟﻤﻮﺍﺿﻴﻊ ﻭ"ﺍﻟﺨﻄﺎﺏ ﺍﻷﻳﺪﻳﻮﻟﻮﺟﻲ"‪.‬‬

‫ﺍﻟﺸﻮﺍﺭﻉ" )‪ .(19‬ﻭﻣﻦ ﻫﻨﺎ ﻳﻄﺮﺡ ﺳﺆﺍﻝ ﺍﻟﺴﻴﻄﺮﺓ‪ :‬ﻣﻦ ﻳﺴﻴﻄﺮ ﻋﻠﻰ ﺍﻟﺸﻮﺍﺭﻉ؟ ﻫﻞ ﻫﻮ‬

‫ﺭﺃﺳﻤﺎﻟﻴﻮﻥﺃﻡ ﺍﺷﺘﺮﺍﻛﻴﻮﻥ؟ ﺇﻥ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻫﻮ ﺃﺩﺍﺓ ﻗﻮﻳﺔ ﻹﻟﻬﺎﻡ ﻭﺗﻨﺸﻴﻂ ﻭﺗﻮﻟﻴﺪ ﺍﻟﺮﻭﺡ ﺍﻟﻤﻌﻨﻮﻳﺔ‪،‬‬

‫ﻭﺭﻓﻊﺍﻟﺮﻭﺡ ﺍﻟﻤﻌﻨﻮﻳﺔ ﻟﺠﻤﻬﻮﺭﻫﺎ‪ ،‬ﻭﻫﻮ ﻣﺎ "ﻳﻈﻬﺮ ﺃﻛﺜﺮ ﻓﻲ ﺃﻭﻗﺎﺕ ﺍﻷﺯﻣﺎﺕ ﻭﺍﻟﺤﺮﺏ‪] ،‬ﻭ[‬

‫ﺍﻟﺜﻮﺭﺓ" )‪ .(20‬ﻳﺴﺘﻬﻠﻚ ﺍﻟﻨﺎﺱ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﻛﻤﺎ ﻫﻲ ﻣﺘﺎﺣﺔ ﻟﻬﻢ‪ ،‬ﻭﻫﺬﺍ ﻫﻮ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﺗﺴﺘﺨﺪﻡﻛﻮﺳﻴﻠﺔ ﻟﻨﻘﻞ ﺍﻟﺮﺳﺎﺉﻞ ﺍﻟﺘﻲ ﺗﺴﺎﻋﺪ ﻋﻠﻰ ﺍﺳﺘﻜﻤﺎﻝ ﺗﻮﺍﻓﺮ‬

‫ﻣﻌﻠﻮﻣﺎﺕﻭﺃﻓﻜﺎﺭ )‪.(23‬‬

‫ﻳﻌﻤﻞﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺑﻤﺜﺎﺑﺔ "ﺃﺩﺍﺓ ﺗﺄﻃﻴﺮ" ﻟﻤﺠﺘﻤﻌﺎﺗﻪ ﺣﻮﻝ ﺍﻟﻌﺎﻟﻢ‬

‫"ﺍﻟﺼﻮﺕ ﺍﻟﻤﻮﺍﺯﻱ ﻟﻠﻤﺪﻳﻨﺔ‪ ،‬ﻭﻛﻔﻦ ﺑﺪﺍﺉﻲ ﺣﺪﻳﺚ" ﻳﻤﻜﻦ ﺍﻟﻌﺜﻮﺭ ﻋﻠﻴﻪ ﻓﻲ ﻛﻞ ﻣﻜﺎﻥ ﻟﻬﺆﻻء‬

‫ﺍﻟﺬﻳﻦﻳﺮﻳﺪﻭﻥ ﺃﻥ ﻳﻨﻈﺮﻭﺍ )ﻟﻮﻳﺲ ‪ .(30‬ﻳﺠﺐ ﻋﻠﻰ ﺍﻟﻤﺮء ﺃﻥ ﻳﻔﺘﺮﺽ ﺃﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻫﻮ ﻭﺳﻴﻠﺔ ﻓﻌﺎﻟﺔ ﻝ‬

‫ﺗﻮﺍﺻﻞ؛ﺇﺫﺍ ﻟﻢ ﻳﻜﻦ ﺍﻷﻣﺮ ﻛﺬﻟﻚ‪ ،‬ﻛﺎﻥ ﺍﻟﺮﺩ ﺍﻟﻌﺎﻡ ﻫﻮ ﺍﺳﺘﺉﺼﺎﻝ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‪ ،‬ﻭﺗﺤﺪﻳﺪﺍ ًﻣﻨﻪ‬

‫ﺗﻠﻚﻫﻲ ﺍﻟﻘﻮﺓ‪ ،‬ﻟﻦ ﺗﻜﻮﻥ ﻋﻈﻴﻤﺔ ﺟﺪﺍً‪ .‬ﻣﻨﺬ ﺑﺪﺍﻳﺘﻪ‪ ،‬ﻛﺎﻥ ﺍﻟﻔﻦ ﺍﻟﺤﺪﻳﺚ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ ﺑﻤﺜﺎﺑﺔ‬

‫ﺍﻧﻌﻜﺎﺱﻟﻠﻮﺿﻊ ﺍﻟﺴﻴﺎﺳﻲ ﺍﻟﻤﻀﻄﺮﺏ ﻓﻲ ﻧﻴﻮﻳﻮﺭﻙ‪ .‬ﻣﻦ ﺧﻼﻝ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﻤﻀﻤﻮﻥ‪ ،‬ﺷﻜﻞ ﺍﻟﻔﻦ‬

‫ﻋﺮﺿﺖﺻﻮﺭﺍً ﻷﻣﺔ ﺗﻤﺮ ﺑﺤﺮﻛﺎﺕ ﺣﻘﻮﻕ ﺍﻟﻤﺮﺃﺓ ﻭﺍﻟﻤﺪﻧﻴﺔ‪ ،‬ﻭﺍﻧﻘﻄﺎﻉ ﺍﻟﺘﻴﺎﺭ ﺍﻟﻜﻬﺮﺑﺎﺉﻲ‪ ،‬ﻭﺃ‬

‫ﻗﺎﺗﻞﻣﺘﺴﻠﺴﻞ ﻃﻠﻴﻖ‪ ،‬ﻭ"ﻗﻀﺎﻳﺎ ﻋﻨﺼﺮﻳﺔ ﻗﻮﻳﺔ" )‪ .(38‬ﺑﻤﺜﺎﺑﺔ ﺍﻟﻤﺤﻔﺰﺍﺕ‪ ،‬ﻭﻫﺬﻩ ﺍﻟﻌﻮﺍﻣﻞ‬

‫ﻣﻘﺘﺮﻧﺎًﺑـ "ﺍﻟﺘﺄﺛﻴﺮﺍﺕ ﺍﻟﺘﺼﻮﻳﺮﻳﺔ" ﻹﻧﺘﺎﺝ "ﺭﺳﺎﺉﻞ ﺳﻴﺎﺳﻴﺔ ﺻﺮﻳﺤﺔ" ﻣﻦ ﺧﻼﻝ ﺍﻟﻔﻦ )‪.(38‬‬

‫ﻳﺬﻛﺮﻟﻲ‪ ،‬ﺃﺣﺪ ﻣﺒﺘﻜﺮﻱ ﺣﺮﻛﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﻣﺘﺮﻭ ﺃﻧﻔﺎﻕ ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﺃﻥ "ﺍﻟﺴﻴﺎﺳﺔ"‪.‬‬

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 ‫ﺍﻟﺠﻮﻣﻬﻴﺄ ﻟﻸﺷﺨﺎﺹ ﺍﻟﺬﻳﻦ ﻳﺮﻏﺒﻮﻥ ﻓﻲ ﺍﻻﺳﺘﻤﺎﻉ ﺇﻟﻰ ﺍﻟﻔﻦ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺍﻟﻜﻠﻤﺔ ﺍﻷﻭﻟﻰ ﺍﻟﺠﻤﺎﻋﻴﺔ‬

‫ﺍﻟﻮﻋﻲ‪.‬ﻳﻌﺮﻑ ﺍﻟﻨﺎﺱ ﻣﺎ ﻳﺤﺪﺙ‪ ،‬ﻟﻜﻨﻬﻢ ﺑﺤﺎﺟﺔ ﺇﻟﻰ ﺭﺅﻳﺘﻪ ﻓﻲ ﺍﻟﻔﻨﻮﻥ ﻟﺘﺄﻛﻴﺪﻩ‪.‬‬

‫)‪ .(79‬ﻓﻨﺎﻧﻮ ﺍﻟﺸﻮﺍﺭﻉ ﻣﺆﺛﺮﻭﻥ ﻟﻴﺲ ﻓﻘﻂ ﻓﻲ ﻋﺪﺩ ﺍﻷﺷﺨﺎﺹ ﺍﻟﺬﻳﻦ ﺗﺼﻞ ﺇﻟﻴﻬﻢ ﺃﻋﻤﺎﻟﻬﻢ‪ ،‬ﺑﻞ ﺃﻳﻀﺎً‬

‫ﻋﺪﺩﺍﻟﻔﻨﺎﻧﻴﻦ ﺍﻟﻤﻠﻬﻤﻴﻦ ﻟﻌﻤﻞ ﺃﻋﻤﺎﻝ ﺧﺎﺻﺔ ﺑﻬﻢ‪ .‬ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻫﻮ "ﻟﻐﺔ ﺑﺼﺮﻳﺔ‬

‫ﻳﺸﻤﻞﺍﻟﻌﺎﻟﻢ ﻣﻦ ﺣﻮﻟﻪ" )‪ .(39‬ﺟﻴﻔﺮﻱ ﺩﻳﺘﺶ‪ ،‬ﺗﺎﺟﺮ ﺍﻟﻔﻦ ﺍﻟﺤﺪﻳﺚ ﻭﺍﻟﻤﻌﺎﺻﺮ‪،‬‬

‫ﻳﻨﺺﻋﻠﻰ ﺃﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ "ﺃﺻﺒﺢ ﺍﻻﺑﺘﻜﺎﺭ ﺍﻟﺜﻘﺎﻓﻲ ﺍﻷﻛﺜﺮ ﺗﺄﺛﻴﺮﺍً ﻓﻲ ﺍﻟﺜﻼﺛﻴﻦ ﻋﺎﻣﺎً ﺍﻟﻤﺎﺿﻴﺔ"‪.‬‬

‫)‪.(30‬‬

‫ﻭﻳﻌﺘﻤﺪﺑﻌﺾ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﻋﻠﻰ ﺗﻜﺘﻴﻜﺎﺕ ﺣﺮﺏ ﺍﻟﻌﺼﺎﺑﺎﺕ ﻹﻳﺼﺎﻝ ﺭﺳﺎﺉﻠﻬﻢ‪ ،‬ﻭﻗﺪ ﻓﻌﻞ ﺫﻟﻚ ﻋﺪﺩ ﻗﻠﻴﻞ ﻣﻨﻬﻢ‬

‫ﻣﺘﺨﺬﻳﻦ"ﺗﺨﺮﻳﺐ ﺍﻟﺸﺮﻛﺎﺕ" ﻛﻌﻨﺼﺮ ﺃﺳﺎﺳﻲ ﻓﻲ ﻋﻤﻠﻬﻢ )‪ .(81‬ﻭﻫﺬﺍ ﻳﺠﺴﺪ ﻛﺬﻟﻚ‬

‫ﺍﻟﻄﺒﻴﻌﺔﺍﻟﻤﺘﻌﺪﺩﺓ ﺍﻷﻭﺟﻪ ﻟﻠﺸﻜﻞ ﺍﻟﻔﻨﻲ‪ ،‬ﻭﺍﻟﺘﻲ ﺗﻈﻞ ﻏﻴﺮ ﻣﻘﻴﺪﺓ ﺑـ "ﺍﻻﻓﺘﺘﺎﺣﻴﺔ ﻣﺘﻌﺪﺩﺓ ﺍﻟﻄﺒﻘﺎﺕ"‪.‬‬

‫"ﺍﻟﺘﻮﺍﻃﺆ" ﺍﻟﺬﻱ ﻳﻮﺍﺟﻬﻪ ﺍﻟﺠﻤﻬﻮﺭ ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻓﻲ ﻭﺳﺎﺉﻞ ﺍﻹﻋﻼﻡ )‪ .(93‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺳﻮﻑ‬

‫ﺍﺣﺘﻔﻆﺩﺍﺉﻤﺎً ﺑﺈﺣﺴﺎﺱ ﺍﻟﺴﻠﻄﺔ ﺍﻟﺬﻱ ﺳﻴﻜﻮﻥ ﺇﻟﻰ ﺍﻷﺑﺪ "ﺫﻭ ﺻﻠﺔ ﻣﻦ ﺣﻴﺚ ﺗﻤﺜﻴﻞ"‪.‬‬

‫ﻋﺮﺽﺧﺎﺭﺟﻲ ﻏﻴﺮ ﻣﺤﺮﺭ" ﻷﻥ ﺃﻋﻤﺎﻝ ﺍﻟﻔﻨﺎﻧﻴﻦ ﺗﻌﺮﺽ ﻣﺒﺎﺷﺮﺓ ﻋﻠﻰ ﺍﻟﻤﺸﺎﻫﺪ ﺑﺪﻭﻥ ﺃﻱ ﺗﻌﺪﻳﻞ‬

‫ﺍﻟﻘﻴﻢّﺑﻴﻨﻬﻤﺎ ﺃﻥ ﻳﻤﻠﻲ ﻣﺎ ﻫﻮ ﺧﻴﺮ ﻭﻣﺎ ﻫﻮ ﻟﻴﺲ ﻛﺬﻟﻚ )‪ .(131‬ﺍﻟﻘﻮﺓ ﺍﻟﺘﻮﺍﺻﻠﻴﺔ ﻝ‬

‫ﻳﻜﻤﻦﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﺣﻘﻴﻘﺔ ﺃﻥ ﻫﻨﺎﻙ ﻣﺤﺮﺭﺍً ﻭﺍﺣﺪﺍً ﻓﻘﻂ‪ ،‬ﻭﻫﻮ ﺍﻟﻔﻨﺎﻥ ﻓﻘﻂ‪ ،‬ﺍﻟﺬﻱ ﻳﺒﺪﺃ ﺍﻟﺤﻮﺍﺭ ﻣﺒﺎﺷﺮﺓ‬

‫ﻣﻊﺍﻟﻤﺸﺎﻫﺪ‪ .‬ﺇﻥ ﺍﻟﻤﺰﻳﺞ ﻣﻦ "ﺍﻟﻨﺸﺎﻁ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭﺍﻟﻐﻀﺐ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭﺍﻹﺑﺪﺍﻉ" ﻫﻮ ﺍﻟﺬﻱ ﻳﻤﻜﻦّ‬

‫ﺷﻜﻞﻓﻨﻲ ﻟﺘﻮﺻﻴﻞ ﺭﺳﺎﻟﺔ ﻗﻮﻳﺔ ﻓﻲ "ﺃﺟﻤﻞ ﺍﻹﻳﻤﺎءﺍﺕ ﺍﻟﻌﺎﻣﺔ" )‪.(153‬‬

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 ‫ﺍﻟﻔﺼﻞ‪4‬‬

‫ﺟﺪﺭﺍﻥﺍﻟﻤﺪﻳﻨﺔ ﻛﻘﻤﺎﺵ‬

‫ﺗﻠﻌﺐﺍﻟﻤﻨﺎﻇﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ ﻧﻔﺴﻬﺎ ﺃﻳﻀﺎً ﺩﻭﺭﺍً ﻣﻬﻤﺎً‪ ،‬ﻷﻧﻬﺎ ﺑﻤﺜﺎﺑﺔ ﻟﻮﺣﺔ ﻗﻤﺎﺷﻴﺔ‬

‫ﻣﻨﻔﺬﻣﻌﺒﺮ ﻹﻳﺼﺎﻝ ﺭﺳﺎﺉﻞ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﻭﺃﻋﻤﺎﻟﻬﻢ‪ .‬ﺍﻟﻤﺪﻥ ﺑﻤﺜﺎﺑﺔ‬

‫"ﺍﻟﻤﺴﺎﺣﺎﺕ ﺍﻟﻤﺎﺩﻳﺔ ﻭﺍﻟﻤﺘﺨﻴﻠﺔ" )‪" (Brown-Glaude 114‬ﺣﻴﺚ ﻳﺘﻢ ﺑﻨﺎء ﺍﻻﺧﺘﻼﻓﺎﺕ‪،‬‬

‫ﻭﻳﻘﻮﻣﻮﻥﺑﺄﻧﻔﺴﻬﻢ ﺑﺒﻨﺎء ﺣﻴﺎﺓ ﺍﻟﻤﺪﻳﻨﺔ ﻭﻓﻀﺎءﻫﺎ” )ﺑﺮﻳﺪﺝ ﻭﻭﺍﺗﺴﻮﻥ ‪ .(507‬ﺟﺪﺍﺭ ﺭﻣﺎﺩﻱ ﻣﺮﺓ ﻭﺍﺣﺪﺓ‪ ،‬ﺍﻵﻥ‬

‫ﻳﺒﺪﻭﺣﻴﺎً ﻣﻦ ﺧﻼﻝ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻟﻮﺍﻥ‪ ،‬ﻭﻳﺘﺤﺪﺙ ﻋﻦ "ﺍﻟﻤﺆﺳﺴﺔ ]ﺃ[ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻻﻧﺘﻤﺎء‬

‫ﻣﻤﻠﻮءﺓﺑﻤﻌﻨﻰ ﺭﻣﺰﻱ” )ﻓﻴﺴﻜﻮﻧﺘﻲ ﻭﺁﺧﺮﻭﻥ ‪ .(513‬ﻟﻮﻛﺎ ﻓﻴﺴﻜﻮﻧﺘﻲ‪ ،‬ﺟﻮﻥ ﺷﻴﺮﻱ ﺟﻮﻧﻴﻮﺭ‪ ،‬ﺳﺘﻴﻔﺎﻧﻴﺎ‬

‫ﻳﺨﺒﺮﻧﺎﺑﻮﺭﻏﻴﻨﻲ‪ ،‬ﻭﻟﻮﺭﻳﻞ ﺃﻧﺪﺭﺳﻮﻥ ﻓﻲ ﺩﺭﺍﺳﺘﻬﻤﺎ ﺍﻟﺒﺤﺜﻴﺔ‪“ ،‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﺍﻟﻔﻦ ﺍﻟﺠﻤﻴﻞ؟ ﺍﺳﺘﻌﺎﺩﺓ‬

‫"ﺍﻟﺠﻤﻬﻮﺭ" ﻓﻲ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ" ﺃﻥ "ﺍﻟﺘﺴﺠﻴﻞ ﻛﻮﺳﻴﻠﺔ ﻟﻨﺸﺮ ﺍﻷﻳﺪﻳﻮﻟﻮﺟﻴﺔ ]ﺃﻣﺮ[ ﻻ ﺟﺪﺍﻝ ﻓﻴﻪ"‬

‫)‪ .(513‬ﺇﻥ ﺍﻟﺮﻏﺒﺔ ﻓﻲ ﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﻣﻨﻔﺬ ﻟﻠﺘﻌﺒﻴﺮ ﺟﺰء ﻣﻦ ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﺒﺸﺮﻳﺔ‪ ،‬ﺧﺎﺻﺔ ﺑﻴﻦ ﺍﻟﺠﻤﻬﻮﺭ‪ .‬ﻓﻲ‬

‫ﺗﻢﺫﻟﻚ ﻣﺮﺍﺕ ﻋﺪﻳﺪﺓ ﻣﻦ ﺧﻼﻝ "ﺳﺮﺩ ﻗﺼﺔ ﺃﻭ ﻃﺮﺡ ﺳﺆﺍﻝ‪] ،‬ﻭ[ ﻣﺮﺍﺕ ﻋﺪﻳﺪﺓ‬

‫ﺗﻘﺪﻳﻢﺃﻳﺪﻳﻮﻟﻮﺟﻴﺔ ﺳﻴﺎﺳﻴﺔ “)‪ .(513‬ﺫﻛﺮ ﺑﺎﻧﻜﺴﻲ ﻓﻲ ﻛﺘﺎﺑﻪﺑﺎﻧﻜﺴﻲ‪ :‬ﺍﻟﺠﺪﺍﺭ ﻭﺍﻟﻘﻄﻌﺔﺍﻟﺬﻱ ‪ -‬ﺍﻟﺘﻲ‬

‫"ﻟﻄﺎﻟﻤﺎ ﻛﺎﻥ ﺍﻟﺠﺪﺍﺭ ﻫﻮ ﺃﻓﻀﻞ ﻣﻜﺎﻥ ﻟﻨﺸﺮ ﺃﻋﻤﺎﻟﻚ" ﻭﻣﻦ ﺧﻼﻝ ﺍﻟﺸﺎﺭﻉ‬

‫ﺍﻟﻔﻦ‪"،‬ﺃﻛﺜﺮ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ ﺍﻟﻤﺘﺎﺣﺔ ﺻﺪﻗﺎً ]ﻷﻧﻪ[ ﻟﻴﺲ ﻫﻨﺎﻙ ﻧﺨﺒﻮﻳﺔ ﺃﻭ ﺿﺠﻴﺞ"‪ ،‬ﻳﻤﻜﻦ ﻟﻠﻤﺮء ﺃﻥ ﻳﻌﺮﺿﻪ‬

‫ﻋﻤﻠﻬﻢ"ﻋﻠﻰ ﺑﻌﺾ ﻣﻦ ﺃﻓﻀﻞ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﺘﻲ ﺗﻘﺪﻣﻬﺎ ﺍﻟﻤﺪﻳﻨﺔ‪ ،‬ﻭﻻ ﻳﻤﻜﻦ ﻷﺣﺪ ﺃﻥ ﻳﺘﺄﺧﺮ ﻋﻦ ﻫﺬﺍ ﺍﻟﺴﻌﺮ‬

‫ﺍﻟﻘﺒﻮﻝ" )‪ .(8‬ﻭﻫﺬﺍ ﻳﻮﺿﺢ ﺍﻟﺤﺎﺟﺔ ﺇﻟﻰ “ﺃﻥ ﻧﻜﻮﻥ ﻣﺒﺪﻋﻴﻦ ﺑﻤﻌﻨﻰ ﺇﻋﺎﺩﺓ ﺗﺸﻜﻴﻞ ﺍﻟﻌﺎﻟﻢ ﻣﻦ ﺃﺟﻠﻪ‬

‫ﺃﻧﻔﺴﻨﺎﺑﻴﻨﻤﺎ ﻧﺼﻨﻊ ﻭﻧﺠﺪ ﻣﻜﺎﻧﻨﺎ ﻭﻫﻮﻳﺘﻨﺎ” )ﻓﻴﺴﻜﻮﻧﺘﻲ ﻭﺁﺧﺮﻭﻥ ‪.(521‬‬

‫ﺍﻟﻤﺸﻬﺪﺍﻟﺤﻀﺮﻱ ﻓﻲ ﺣﺎﻟﺔ ﺗﻐﻴﺮ ﻣﺴﺘﻤﺮ‪ ،‬ﻭ"ﺍﻟﺘﻐﻴﺮﺍﺕ ﻭﺍﻟﺘﺤﻮﻻﺕ ﺍﻟﻬﺎﺉﻠﺔ"‬

‫ﺍﻟﺘﻲﻻ ﺗﺰﺍﻝ ﺗﺤﺪﺙ ﻓﻲ ﻣﺤﻴﻄﻨﺎ “ﺗﻢ ﺍﻟﺮﺩ ﻋﻠﻴﻬﺎ ﺑﺄﺷﻜﺎﻝ ﻣﺴﻴﺴﺔ ﻣﻦ‬

‫ﻓﻦﺍﻟﺸﺎﺭﻉ" )ﻓﻴﺮﺍﻧﺖ(‪ .‬ﺗﻘﻮﻝ ﺟﻮﻟﻴﺎ ﻓﻴﺮﺍﻧﺘﻲ ﻓﻲ ﻣﻘﺎﻟﺘﻬﺎ ""ﻓﻦ ﺍﻟﺸﺎﺭﻉ" ﻳﻮﻓﺮ ﻧﺼﺎً ﻟـ‬

‫"ﻓﻬﻢ ﺍﻟﻤﺪﻥ ﻓﻲ ﻣﺮﺣﻠﺔ ﺍﻟﺘﺤﻮﻝ"‪ ،‬ﺃﻧﻪ "ﻻ ﻳﺘﻌﻠﻖ ﺑﻘﺮﺍءﺓ ﻭﺗﻔﺴﻴﺮ ﺍﻟﻤﺪﻥ"‪.‬‬

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 ‫ﺍﻟﻘﻄﻊﺍﻟﻔﺮﺩﻳﺔ ﺑﺪﻻ ًﻣﻦ ﺭﺅﻳﺘﻬﺎ ﻓﻲ ﺳﻴﺎﻕ ﺍﻟﺘﻌﻠﻴﻖ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ .‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﻭ‬

‫ﺍﻟﺸﻮﺍﺭﻉﻧﻔﺴﻬﺎ ﺍﻟﺘﻲ ﺗﺤﺪﺩ ﻭﺗﺮﻣﺰ ﻣﺪﻧﻨﺎ‪ ،‬ﺗﻌﺒﺮ ﻋﻦ "ﺍﻟﺤﺮﻛﺔ ﺍﻟﺴﺮﻳﺔ ﻭﺍﻟﻤﻨﺎﻫﻀﺔ ﻟﻠﺤﺪﺍﺛﺔ"‪.‬‬

‫"ﺍﻟﻤﺆﺳﺴﺔ" ﻭ"ﺑﻤﺜﺎﺑﺔ ﺟﺰء ﻣﻦ ﺗﻌﻠﻴﻖ ﺣﻲ ﻭﻣﺤﺎﺩﺛﺔ ﺣﻮﻝ ﻣﺎ ﻫﻮ ﻛﺎﺉﻦ‬

‫ﻳﺤﺪﺙﻓﻲ ﺍﻟﻤﺪﻳﻨﺔ‪ ".‬ﻭﺗﻘﻮﻝ ﺇﻧﻪ ﻣﻦ ﺃﺟﻞ “ﻣﻌﺮﻓﺔ ﺣﺎﻟﺔ ﺑﻠﺪ ﻣﺜﻞ ﻫﺬﺍ‬

‫ﻟﺤﻈﺔ‪،‬ﻋﻠﻴﻚ ﺃﻥ ﺗﻨﻈﺮ ﺇﻟﻰ ﺍﻟﺸﺎﺭﻉ‪ .‬ﺃﻧﺖ ﺗﻌﺒﺮ ﻋﻦ ﻧﻔﺴﻚ ﻓﻲ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﻭﺗﺮﻯ ﺍﻷﺷﻴﺎء ﻓﻴﻬﺎ‬

‫ﺍﻟﺸﺎﺭﻉ‪ ".‬ﻧﻈﺮﺍً ﻟﻄﺒﻴﻌﺘﻪ ﺍﻟﻤﻨﺘﺸﺮﺓ ﻓﻲ ﻛﻞ ﻣﻜﺎﻥ‪ ،‬ﻓﻘﺪ ﺃﺻﺒﺢ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻭﺍﻟﻔﻦ ﺍﻟﺤﻀﺮﻱ ﺟﺰءﺍً ﻣﻦ ﺍﻟﻌﺎﻟﻢ‬

‫ﺍﻟﻨﺴﻴﺞﺍﻟﺜﻘﺎﻓﻲ ﻟﻠﻤﺪﻳﻨﺔ‪ ،‬ﻭﺟﺰء ﻣﻤﺎ ﻳﺠﻌﻞ ﺍﻟﻤﺪﻳﻨﺔ ﻣﺪﻳﻨﺔ‪ .‬ﺇﻧﻪ ﻳﻘﺪﻡ "ﻧﻈﺮﺓ ﺇﺑﺪﺍﻋﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ‬

‫ﻭﻟﻜﻦﺃﻳﻀﺎً ﺻﻮﺕ ﺿﺪ ﻣﺎ ﺗﺤﻮﻟﺖ ﺇﻟﻴﻪ ﺍﻟﻤﺪﻳﻨﺔ‪ .‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻫﻮ ﺗﻌﻠﻴﻖ ﻧﻘﺪﻱ ﻋﻠﻰ‬

‫ﺟﻮﺍﻧﺐﺍﻟﻌﻮﻟﻤﺔ ﻭﺍﻟﺘﺤﺴﻴﻦ‪".‬‬

‫ﺗﻌﻤﻞﺃﺳﻮﺍﺭ ﺍﻟﻤﺪﻳﻨﺔ ﻛﻠﻮﺣﺔ ﻗﻤﺎﺷﻴﺔ "ﺗﺮﺳﻢ ﻋﻠﻴﻬﺎ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﺗﻨﻴﺮ ﺍﻟﻤﻌﺎﺻﺮﺓ‬

‫ﺍﻟﺜﻘﺎﻓﺔﺍﻟﺤﻀﺮﻳﺔ"‪ ،‬ﻭﺗﻮﻓﺮ ﺍﻟﺪﻳﻜﻮﺭ "ﻟﻠﺤﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ ﺑﺘﻨﻮﻉ ﺍﻷﻟﻮﺍﻥ‪،‬‬

‫ﺍﻟﻤﻌﻨﻰﻭﺍﻷﺳﻠﻮﺏ" )ﻓﻴﺮﻳﻞ ‪ .(3‬ﻳﺨﻠﻖ ﺍﻟﻔﻨﺎﻧﻮﻥ ﺍﻟﺤﻀﺮﻳﻮﻥ ﻣﺴﺎﺣﺔ ﺛﻘﺎﻓﻴﺔ ﻏﻴﺮ ﻣﻮﺟﻮﺩﺓ ﻓﻲ ﺍﻟﺪﺍﺧﻞ‬

‫ﺍﻟﺒﻴﺉﺔﺍﻟﺤﻀﺮﻳﺔ‪ ،‬ﺣﻴﺚ "ﺷﻜﻞ ﺍﻟﻔﻦ ﺍﻟﺴﺮﻱ ﺍﻟﺬﻱ ﺃﺻﺒﺢ ﻣﻮﺟﻮﺩﺍً ﻓﻲ ﻛﻞ ﻣﻜﺎﻥ ﺗﻘﺮﻳﺒﺎً‬

‫ﺣﻴﺎﺗﻨﺎﺍﻟﺤﻀﺮﻳﺔ" )ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .(7,‬ﺗﺬﻛﺮ ﺃﻭﻡ ﺭﻳﻮ‪ ،‬ﻓﻨﺎﻧﺔ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻣﻦ ﺍﻟﺒﺮﺍﺯﻳﻞ‬

‫ﺃﻧﻬﺎﺗﺮﻳﺪ "ﻓﺘﺢ ﻋﻘﻮﻝ ﺍﻟﻨﺎﺱ‪ ،‬ﻭﺟﻌﻠﻬﻢ ﻳﺮﺍﺟﻌﻮﻥ ﺗﺼﻮﺭﺍﺗﻬﻢ‪ ،‬ﻭﻳﺨﺘﺒﺮﻭﻥ ﺃﺭﻭﺍﺣﻬﻢ"‬

‫)ﻏﺎﻧﺰ‪،‬ﻛﺘﺎﺑﺎﺕ ﺍﻟﻨﺴﺎء‪ .(38,‬ﺗﻀﻴﻒ ‪ DPKG‬ﺍﻟﺴﻮﻳﺪﻳﺔ ﺃﻥ ﻫﺪﻑ ﻓﻨﺎﻧﻲ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻭﺍﻟﺸﺎﺭﻉ ﻫﻮ‬

‫"ﺍﻟﺴﻤﺎﺡ ﻟﻠﻤﺴﺘﻘﺒﻞ ﺑﺎﻟﺪﺧﻮﻝ ﺇﻟﻰ ﺍﻟﻌﺎﻟﻢ ﻭﺧﻠﻖ ﺍﻟﻮﺍﻗﻊ ﺑﺎﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﻲ ﻳﺮﻳﺪﻫﺎ ﺣﻘﺎً‪ .‬ﺇﻧﻬﺎ ﻭﺍﺟﺒﻨﺎ‬

‫ﻳﻘﻮﻝ"ﻟﺠﻌﻞ ﺍﻟﺒﻴﺉﺔ ﺍﻟﻤﺤﻴﻄﺔ ﺃﻛﺜﺮ ﺇﺛﺎﺭﺓ ﻟﻼﻫﺘﻤﺎﻡ ﻟﺒﻘﻴﺔ ﺍﻟﺒﺸﺮﻳﺔ" )‪.(39‬‬

‫ﻗﺒﻞﺃﻥ ﻳﺘﻤﻜﻦ ﺍﻟﻤﺮء ﻣﻦ ﻓﺤﺺ ﻣﻜﺎﻧﺔ ﺍﻟﻔﻨﺎﻥ ﻓﻲ ﺍﻟﻤﺠﺘﻤﻊ‪ ،‬ﻣﻦ ﺍﻟﻤﻬﻢ ﺃﻥ ﻧﺤﺪﺩﻫﺎ ﺃﻭﻻً‬

‫ﻣﺎﺍﻟﺬﻱ ﻧﻌﺘﺒﺮﻩ ﻓﻨﺎً‪ .‬ﺑﺪﻻ ًﻣﻦ ﺍﻟﻨﻈﺮ ﺇﻟﻰ ﺻﺎﻻﺕ ﺍﻟﻌﺮﺽ ﻟﻤﻌﺮﻓﺔ ﻣﺎ ﺗﻤﺜﻠﻪ‪،‬‬

‫ﻳﺸﺠﻌﻨﺎﻭﻳﻌﺒﺮ ﻋﻨﺎ ﻭﻳﻠﻬﻤﻨﺎ‪ ،‬ﻓﻴﺠﺐ ﺃﻥ ﻧﻨﻈﺮ ﺇﻟﻰ ﺍﻟﺸﺎﺭﻉ ﻭﺟﺪﺭﺍﻧﻪ‪:‬‬

‫ﺣﻴﺚﻳﺘﺮﻙ ﺍﻟﻤﺴﻠﺤﻮﻥ ﻛﻠﻤﺎﺗﻬﻢ ﺍﻟﻤﺮﺳﻮﻣﺔ ﺃﺛﻨﺎء ﺍﻟﻤﺴﻴﺮﺍﺕ‪] ،‬ﻭﺃﻳﻦ[‬

‫ﺗﺨﺘﺎﺭﺍﻟﺤﻜﻮﻣﺎﺕ ﺗﺠﺎﻫﻞ ﺣﻘﻮﻗﻬﺎ ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴﺔ ﻓﻲ ﺣﺮﻳﺔ ﺍﻟﺘﻌﺒﻴﺮ‪] .‬ﻫﺬﺍ‬

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 ‫ﻳﻈﻬﺮ[ ﺃﻥ ﺍﻟﻤﺪﻥ ﻟﻴﺴﺖ ﻣﺠﺮﺩ ﻣﺮﺍﻛﺰ ﺗﺴﻮﻕ ﻛﺒﻴﺮﺓ‪ ،‬ﺃﻭ ﻟﻜﺴﺐ ﺍﻟﻤﺎﻝ ﺍﻟﺴﻴﺎﺣﻲ‬

‫ﻣﺮﺍﻓﻖ‪،‬ﺑﻞ ﺃﻣﺎﻛﻦ ﻟﻠﺤﻴﺎﺓ ﻭﺍﻟﻄﺎﻗﺔ”‪) .‬ﻟﻮﺭﻱ ﻟﻴﺠﺮﺍﻧﺪ‪ ،‬ﻓﻨﺎﻧﺔ‪(138 ،‬‬

‫ﻣﻦﺧﻼﻝ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﻤﺪﻳﻨﺔ ﺟﺴﺪﻳﺎً‪ ،‬ﻳﻄﻮﺭ ﺍﻟﻔﻨﺎﻧﻮﻥ ﺍﻟﺤﻀﺮﻳﻮﻥ ﻋﻼﻗﺔ ﺧﺎﺻﺔ ﻣﻌﻬﺎ‪ .‬ﺑﻄﺮﻳﻘﺔ‬

‫"ﺇﻧﻬﻢ ﻳﻌﻘﺪﻭﻥ ﻣﻔﺎﻭﺿﺎﺕ ﺣﻤﻴﻤﺔ ﻟﻠﻐﺎﻳﺔ ﻣﻊ ﺍﻟﻔﻀﺎء ﻋﻦ ﻃﺮﻳﻖ ﺗﻐﻴﻴﺮﻩ" ﻭﺑﺪﻻ ًﻣﻦ ﻟﻌﺐ ﺍﻟﺪﻭﺭ‬

‫ﺍﻟﻤﺴﺘﻬﻠﻚ‪،‬ﻳﺘﻮﺍﺟﺪ ﻛﺪﻭﺭ ﺍﻟﻤﺒﺪﻉ ﺍﻟﺬﻱ ﺗﺘﺸﻜﻞ ﻫﻮﻳﺘﻪ ﻋﻠﻰ ﺟﺪﺭﺍﻥ ﺍﻟﻤﺪﻳﻨﺔ‬

‫)ﻟﻮﻳﺲ ‪.(93‬‬

‫ﻓﻦﺍﻟﺸﺎﺭﻉ ﻛﺠﺰء ﻣﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺒﺼﺮﻳﺔ‬

‫ﺃﺻﺒﺤﺖﺍﻷﺷﻜﺎﻝ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻟﻔﻦ ﺍﻟﺸﺎﺭﻉ ﺟﺰءﺍً ﻣﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺒﺼﺮﻳﺔ ﺍﻟﺘﻲ ﺍﻛﺘﺴﺒﺖ ﺷﻬﺮﺓ ﻭﺍﺳﻌﺔ‬

‫ﺣﻀﻮﺭﺩﻭﻟﻲ ﺑﺪﻋﻢ ﻣﻦ ﻣﻮﺍﻗﻊ ﺍﻟﻮﻳﺐ ﻭﻣﺠﺘﻤﻌﺎﺕ ﺍﻟﻔﻦ ﻭﺍﻟﻔﻨﺎﻧﻴﻦ ﻭﺍﻟﻜﺘﺐ ﻭ‬

‫ﺍﻟﻤﺠﻼﺕﻭﺣﺘﻰ ﺍﻷﻓﻼﻡ‪ .‬ﺑﺪﺃﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻓﻲ ﺍﻟﺘﻮﺳﻊ ﻷﻭﻝ ﻣﺮﺓ ﻋﻨﺪﻣﺎ ﻳﺴﺎﻓﺮ ﺍﻟﺴﻴﺎﺡ ﺇﻟﻰ ﻧﻴﻮ‬

‫ﻳﻮﺭﻙﻭﻳﻠﺘﻘﻄﻮﻥ ﺻﻮﺭﻫﻢ ﻟﻠﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﻣﺪﻥ ﺃﺧﺮﻯ ﻓﻲ ﺍﻟﻮﻻﻳﺎﺕ ﺍﻟﻤﺘﺤﺪﺓ ﺃﻭ ﻓﻲ ﺍﻟﺨﺎﺭﺝ "ﺍﻟﻤﺰﺩﻫﺮﺓ"‪.‬‬

‫ﺍﻟﺤﺮﻛﺎﺕ” ﻓﻲ ﺍﻟﻮﻃﻦ )ﺳﻨﺎﻳﺪﺭ ‪ .(25‬ﻭﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺫﻟﻚ‪ ،‬ﺃﺻﺒﺢ ﺃﺻﺤﺎﺏ ﺍﻟﻤﻌﺎﺭﺽ ﻭﻭﺳﺎﺉﻞ ﺍﻹﻋﻼﻡ ﺃﻳﻀﺎ‬

‫ﺃﺩﻭﺍﺕﻣﻬﻤﺔ ﻟﻨﺸﺮ ﺍﻟﻜﺘﺎﺑﺎﺕ ﻋﻠﻰ ﻋﺪﺩ ﺃﻛﺒﺮ ﻣﻦ ﺍﻟﺴﻜﺎﻥ" )‪ .(25‬ﻭﻣﻦ ﺧﻼﻝ ﻫﺬﻩ‬

‫ﺃﺷﻜﺎﻝﺍﻟﻮﺳﺎﺉﻂ ﺍﻟﻤﺨﺘﻠﻔﺔ ﺍﻟﺘﻲ ﺳﻤﺤﺖ ﻟﻠﻨﺎﺱ ﺑﻤﺰﻳﺪ ﻣﻦ ﺍﻟﻤﻌﺮﻓﺔ ﺑﻔﻦ ﺍﻟﺸﺎﺭﻉ‪ .‬ﻟﻘﺪ ﻛﺎﻥ ﻫﺬﺍ‬

‫ﺣﺎﺳﻢﻓﻲ "ﻣﺴﺎﻋﺪﺓ ﺍﻟﻨﺎﺱ ﻋﻠﻰ ﻓﻬﻢ ]ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ[ ﻭﻛﻴﻒ ﻭﺃﻳﻦ ﻳﻨﺴﺠﻢ ﻣﻌﻪ‬

‫]‪ [،‬ﻭﻳﺬﻫﺐ ﺇﻟﻰ ﻣﺎ ﻫﻮ ﺃﺑﻌﺪ ﻣﻦ ]‪ [،‬ﺍﻟﻄﺮﻕ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ” )ﺳﺘﺎﻭﺭﺯ(‪ .‬ﺑﺤﺴﺐ ﻧﺎﻧﺴﻲ ﻣﺎﻛﺪﻭﻧﺎﻟﺪﺯ‬

‫ﻛﺘﺎﺏ‪،‬ﺛﻘﺎﻓﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻔﺮﻋﻴﺔ‪ :‬ﺍﻟﺸﺒﺎﺏ ﻭﺍﻟﺬﻛﻮﺭﺓ ﻭﺍﻟﻬﻮﻳﺔ ﻓﻲ ﻟﻨﺪﻥ ﻭﻧﻴﻮﻳﻮﺭﻙﺷﺎﺭﻉ‬

‫ﺍﻟﻔﻦﺍﻵﻥ "ﻳﺘﻤﺘﻊ ﺑﻤﻜﺎﻧﺔ ﻛﻈﺎﻫﺮﺓ ﻋﺎﻟﻤﻴﺔ" )‪ .(2‬ﺗﺄﺛﻴﺮ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻋﻠﻰ ﺍﻟﺘﻴﺎﺭ ﺍﻟﺮﺉﻴﺴﻲ‬

‫ﻳﻌﻮﺩﺍﻟﻔﻦ ﺍﻟﺤﺪﻳﺚ ﺇﻟﻰ ﺟﺎﻥ ﺩﻭﺑﻮﻓﻴﻪ ﻭﺑﺎﺑﻠﻮ ﺑﻴﻜﺎﺳﻮ ]ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ[ ﺛﻘﺎﻓﺎﺕ ﻭﺛﻘﺎﻓﺎﺕ ﺃﺧﺮﻯ‬

‫ﺍﻟﻔﻦ"ﺍﻟﺨﺎﺭﺟﻲ" )ﺭﺍﻥ ‪.(9‬‬

‫ﺫﻛﺮﺇﺭﻧﺴﺖ ﺃﺑﻴﻞ ﻭﺑﺎﺭﺑﺮﺍ ﺑﺎﻛﻠﻲ ﻓﻲ ﻛﺘﺎﺑﻬﻤﺎﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﻴﺪﻭﻳﺔ ﻋﻠﻰ ﺍﻟﺤﺎﺉﻂ‪:‬‬

‫ﻧﺤﻮﻋﻠﻢ ﺍﻻﺟﺘﻤﺎﻉ ﻭﻋﻠﻢ ﺍﻟﻨﻔﺲ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪،‬ﺃﻥ ﻓﺤﺺ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻫﻮ‬

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 ‫"ﺇﻟﻰ ﺣﺪ ﻛﺒﻴﺮ ﺗﺤﻘﻴﻖ ﻋﺒﺮ ﺍﻟﺜﻘﺎﻓﺎﺕ ﻟﻼﺧﺘﻼﻓﺎﺕ ﺍﻟﻄﺒﻘﻴﺔ ﻭﺍﻟﻌﺮﻗﻴﺔ" ﺍﻟﺘﻲ "ﺭﺳﺎﺉﻠﻬﺎ"‪.‬‬

‫]ﺗﻤﻴﻞ ﺇﻟﻰ[ ﺃﻥ ﺗﻌﻜﺲ ﺍﻟﻤﻮﺍﻗﻒ ﻭﺍﻟﻘﻴﻢ ﺍﻟﻤﺸﺘﺮﻛﺔ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻻﺧﺘﻼﻓﺎﺕ ﺍﻟﻌﺮﻗﻴﺔ ﻓﻲ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺮﺉﻴﺴﻴﺔ‬

‫"ﺍﻟﻤﻮﺿﻮﻋﺎﺕ" )‪ .(144‬ﻭﻭﺟﺪ ﺑﺤﺜﻬﻢ ﺃﻳﻀﺎً ﺃﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﻬﻮﺍء ﺍﻟﻄﻠﻖ ﻏﻴﺮ ﻣﻮﺟﻮﺩﺓ ﻋﻠﻰ ﺍﻹﻃﻼﻕ ﻓﻲ ﻛﻠﻴﻬﻤﺎ‬

‫ﺍﻷﺣﻴﺎءﺍﻟﺒﻴﻀﺎء ﻟﻠﻄﺒﻘﺔ ﺍﻟﻤﺘﻮﺳﻄﺔ ﻭﺍﻟﻌﻠﻴﺎ‪ .‬ﻭﻫﺬﺍ ﻳﺪﻝ ﻋﻠﻰ ﺃﻫﻤﻴﺔ ﺍﻟﻤﺪﻥ ﻓﻲ‬

‫ﻭﺟﻮﺩﺍﻟﻔﻦ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ‪ .‬ﺗﺤﺘﻮﻱ ﺍﻟﻤﺪﻥ ﻋﻠﻰ “ﻭﻓﺮﺓ ﻣﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﻤﻀﻄﺮﺓ ﺇﻟﻰ ﺫﻟﻚ‬

‫ﻳﺘﻜﺎﻣﻠﻮﻥﻭﻳﺘﻌﺎﻣﻠﻮﻥ ﻣﻊ ﺑﻌﻀﻬﻢ ﺍﻟﺒﻌﺾ ﻛﻞ ﻳﻮﻡ‪ "،‬ﻭﻫﻢ "ﻣﻠﻔﻘﻮﻥ ﻭﻣﻨﻈﻤﻮﻥ ﺑﺎﻟﻜﺎﻣﻞ" ﻣﻦ ﻗﺒﻠﻬﻢ‬

‫ﺳﻜﺎﻥ)ﻏﺎﻧﺰ‪،‬ﻛﺘﺎﺑﺎﺕ ﺍﻟﻨﺴﺎء‪ .(144,‬ﺍﻟﻨﺎﺱ ﻣﻦ ﺟﻤﻴﻊ ﺍﻟﺨﻠﻔﻴﺎﺕ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻳﻨﻀﻤﻮﻥ ﻣﻌﺎً ﻭ‬

‫ﺗﻤﻜﻨﻮﺍﺑﻄﺮﻳﻘﺔ ﻣﺎ ﻣﻦ ﺍﻻﻟﺘﺰﺍﻡ "ﺑﻨﻔﺲ ﺍﻟﻘﻮﺍﻋﺪ ﺍﻟﻌﺎﻣﺔ ﻭﺍﻟﻌﻤﻞ ﻛﻜﺘﻠﺔ ﻓﻲ ]ﺧﺎﺻﺘﻬﻢ["‪.‬‬

‫ﺍﻟﺨﻠﻖ" )‪ .(145‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻛﻤﺎ ﻧﻌﺮﻓﻬﺎ ﺍﻟﻴﻮﻡ ﻟﻬﺎ "ﺗﺎﺭﻳﺦ ﻗﺼﻴﺮ ﻧﺴﺒﻴﺎً"‪.‬‬

‫"ﺗﻤﻜﻨﺖ ﻣﻦ ﻟﻤﺲ ﻛﻞ ﺭﻛﻦ ﻣﻦ ﺃﺭﻛﺎﻥ ﺍﻟﻌﺎﻟﻢ ﺗﻘﺮﻳﺒﺎً" )ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .(7,‬ﻣﺆﺧﺮﺍ ﻫﻨﺎﻙ‬

‫ﻟﻘﺪﻛﺎﻥ ﺗﺤﻮﻻً ﻻ ﻳﻤﻜﻦ ﺇﻧﻜﺎﺭﻩ ﻓﻲ ﺍﻟﺘﺄﺛﻴﺮ ﺍﻟﻌﺎﻡ ﻭﺍﻻﺟﺘﻤﺎﻋﻲ ﻟﻔﻦ ﺍﻟﺸﺎﺭﻉ ﻭﺛﻘﺎﻓﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻭ‬

‫ﺍﻟﺘﺤﻮﻝﺍﻟﺪﺭﺍﻣﺎﺗﻴﻜﻲ ﻭﺍﺿﺢ‪ .‬ﻭﻗﺪ ﺳﺎﻋﺪﺕ ﺛﻮﺭﺍﺕ ﺍﻹﻧﺘﺮﻧﺖ ﻭﺍﻻﺗﺼﺎﻻﺕ ﻋﻠﻰ ﺫﻟﻚ‬

‫"ﺍﻧﺸﺮ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺃﺭﻛﺎﻥ ﺍﻷﺭﺽ ﺍﻷﺭﺑﻌﺔ"‪ ،‬ﻣﻊ ﺑﺪء ﻇﻬﻮﺭ ﺍﻟﻘﻄﻊ ﺍﻟﻤﺤﻠﻴﺔ ﺍﻷﻭﻟﻰ‬

‫ﻓﻲ"ﺍﻟﺪﻳﻜﺘﺎﺗﻮﺭﻳﺎﺕ ﻣﺜﻞ ﺑﻮﺭﻣﺎ ﻭﻛﻮﺭﻳﺎ ﺍﻟﺸﻤﺎﻟﻴﺔ" )‪.(374‬‬

‫ﺗﻘﺪﻡﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﺬﻱ ﻳﺘﻄﻮﺭ ﺧﺎﺭﺝ ﺃﻣﺮﻳﻜﺎ ﺍﻟﺸﻤﺎﻟﻴﺔ‪ ،‬ﺃﻓﻀﻠﻴﺔ‬

‫ﻣﺜﺎﻝﻋﻠﻰ ﺍﻟﻔﻦ ﺍﻟﺤﻀﺮﻱ ﺍﻟﺬﻱ ﻳﻈﻬﺮ ﻛﺎﺳﺘﺠﺎﺑﺔ ﻟﻸﺯﻣﺎﺕ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﻜﺒﺮﻯ‬

‫ﺍﻻﺿﻄﺮﺍﺑﺎﺕ– ﻭﺗﺤﺪﻳﺪﺍ ًﺍﻟﺤﺮﻛﺎﺕ ﺍﻟﺘﻲ ﺗﺤﺪﺙ ﻓﻲ ﻣﺼﺮ ﻭﺍﻟﺒﺮﺍﺯﻳﻞ‪ .‬ﺃﻫﻞ ﻫﺆﻻء‬

‫ﻟﻘﺪﻭﺟﺪﺕ ﺍﻟﺪﻭﻝ ﺃﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻫﻮ ﺃﺩﺍﺓ ﻣﻬﻤﺔ ﻟﻠﺘﻌﺒﻴﺮ‪ ،‬ﺣﻴﺚ ﻳﺘﻢ ﻣﻦ ﺧﻼﻟﻪ "ﺍﻟﻌﺮﻕ ﻭﺍﻟﺠﻨﺲ"‪.‬‬

‫ﺍﻟﻬﻮﻳﺔﺍﻟﻌﺮﻗﻴﺔ ﻭﺍﻟﻠﻐﻮﻳﺔ ﻭﺍﻟﺮﻣﻮﺯ" ﺗﻤﺜﻞ ﺳﻌﻴﻬﻢ ﻣﻦ ﺃﺟﻞ "ﺍﻻﻋﺘﺮﺍﻑ ﺍﻟﺴﻴﺎﺳﻲ ﻭ‬

‫ﺍﻟﺤﻘﻮﻕﻓﻲ ﻇﻞ ﺛﻘﺎﻓﺎﺗﻬﻢ ﺍﻟﻤﻬﻴﻤﻨﺔ" )ﺷﺎﻓﻲ ‪ .(11‬ﻟﻘﺪ ﻣﻜﻦّ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻣﻦ ﺍﻹﺑﺪﺍﻉ‬

‫ﺍﻟﻠﻐﺔﻭﺍﻟﺮﻣﻮﺯ ﺍﻟﺘﻲ ﺗﺰﻭﺩﻫﻢ ﺑﻤﻌﺮﻓﺎﺕ ﺟﺪﻳﺪﺓ ﺫﺍﺕ ﻣﻌﻨﻰ ﺗﻌﻴﺪ ﺗﻌﺮﻳﻒ ﺍﻟﺴﻴﺎﺳﺔ‬

‫ﺍﻟﺤﻮﺍﺭ‪.‬‬

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 ‫ﻓﻦﺍﻟﺸﺎﺭﻉ ﻭﺍﻟﺜﻮﺭﺓ ﺍﻟﻤﺼﺮﻳﺔ‬

‫ﻟﻢﻳﻤﺾ ﻭﻗﺖ ﻃﻮﻳﻞ ﻣﻨﺬ ﺃﻥ ﻛﺎﻥ ﻣﻦ ﺍﻟﺼﻌﺐ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﺃﻭ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﺠﺪﻳﺮﺓ ﺑﺎﻟﺬﻛﺮ‬

‫ﺍﻟﻌﺎﻟﻢﺍﻟﻌﺮﺑﻲ‪ .‬ﻭﻣﻊ ﺍﻧﻄﻼﻕ ﺍﻟﺜﻮﺭﺓ ﺍﻟﻤﺼﺮﻳﺔ ﻓﻲ ﻳﻨﺎﻳﺮ ‪ ،2011‬ﻋﺎﺩﺕ ﺍﻟﻘﺎﻫﺮﺓ ﻣﻨﺬ ﺫﻟﻚ ﺍﻟﺤﻴﻦ‬

‫ﺃﺳﺴﺖﻧﻔﺴﻬﺎ ﻛﻌﺎﺻﻤﺔ ﻟﻔﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﺍﻟﺸﺮﻕ ﺍﻷﻭﺳﻂ‪ .‬ﺑﻴﻨﻤﺎ ﺑﺪﺃﺕ ﺍﻟﺤﺮﻛﺔ ﺏ‬

‫ﻭﺳﺮﻋﺎﻥﻣﺎ "ﻛﺘﺒﺖ ﻋﻠﻰ ﻋﺠﻞ ﺷﻌﺎﺭﺍﺕ ﺗﻄﺎﻟﺐ ﺑﺈﺳﻘﺎﻁ ﻧﻈﺎﻡ ﻣﺒﺎﺭﻙ"‪.‬‬

‫ﺗﻄﻮﺭﺕﺇﻟﻰ ﻭﺍﺣﺪﺓ “ﺗﺘﻤﻴﺰ ﺑﺰﺧﺎﺭﻑ ﻣﺘﻘﻨﺔ ﺍﻟﺼﻨﻊ‪ ،‬ﺟﻤﺎﻟﻴﺔ ﻭﺳﻴﺎﺳﻴﺔ ﻋﻠﻰ ﺣﺪ ﺳﻮﺍء‬

‫ﺍﺳﺘﻔﺰﺍﺯﻳﺔ" )ﻭﻭﺩ(‪ .‬ﻳﺬﻛﺮ ﺟﻮﺵ ﻭﻭﺩ ﻓﻲ ﻣﻘﺎﻟﺘﻪ ﻓﻲ ﺻﺤﻴﻔﺔ ﻧﻴﻮﻳﻮﺭﻙ ﺗﺎﻳﻤﺰ "ﺍﻟﻨﻀﺞ‬

‫"ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﺍﻟﻘﺎﻫﺮﺓ"‪ ،‬ﺍﻟﺬﻱ ﻳﺴﻠﻂ ﺿﻮء ﺍﻟﺸﻤﺲ ﻛﻞ ﺻﺒﺎﺡ ﻋﻠﻰ ﻗﻄﻊ ﺟﺪﻳﺪﺓ ﻃﺎﺯﺟﺔ ﻣﻦ ﺍﻟﻠﻴﻞ‬

‫ﻣﻦﻗﺒﻞ‪ ،‬ﻣﻊ ﺃﻋﻤﺎﻝ ﺗﺘﺮﺍﻭﺡ ﺑﻴﻦ "ﺍﻻﺳﺘﻨﺴﻞ ﻟﻠﺜﻮﺭﻱ ﻓﻲ ﺃﻣﺮﻳﻜﺎ ﺍﻟﺠﻨﻮﺑﻴﺔ ﺗﺸﻲ ﺟﻴﻔﺎﺭﺍ"‪.‬‬

‫]ﺗﻢ ﺗﺼﻮﻳﺮﻩ[ ﺑﻠﺤﻴﺔ ﻋﻠﻰ ﺍﻟﻄﺮﺍﺯ ﺍﻹﺳﻼﻣﻲ" ﻓﻲ ﻣﻮﺍﺟﻬﺔ ﺑﻴﻦ ﺩﺑﺎﺑﺔ ﻭﺭﺟﻞ ﻋﻠﻰ ﺩﺭﺍﺟﺔ‬

‫ﻳﻨﻘﻞﺍﻟﺨﺒﺰ ﻋﻠﻰ ﺭﺃﺳﻪ‪" .‬ﺍﻟﻜﻠﻤﺎﺕ "ﺃﻧﺖ ﺟﻤﻴﻠﺔ" ﻣﻄﺒﻮﻋﺔ ﻋﻠﻰ ﺃﺣﺪ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﺷﺎﺭﻉﻣﻴﺪﺍﻥ ﺍﻟﺘﺤﺮﻳﺮ‪ ،‬ﻋﻠﻰ ﺑﻌﺪ ﻣﺴﺎﻓﺔ ﻗﺼﻴﺮﺓ ﻣﻦ ﻣﻮﻗﻊ ﺑﻌﺾ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻷﻛﺜﺮ ﺩﻣﻮﻳﺔ‬

‫ﻣﻌﺎﺭﻙ” ﺍﻟﺜﻮﺭﺓ ﺍﻟﺠﺪﻳﺪﺓ‪ ،‬ﻣﻊ ﻋﺒﺎﺭﺓ “ﺍﺣﺘﺮﻡ ﺍﻟﻮﺟﻮﺩ ﺃﻭ ﺗﻮﻗﻊ ﺍﻟﻤﻘﺎﻭﻣﺔ”‬

‫)ﺍﻟﺸﻜﻞ ‪ (4‬ﺭﺳﻤﻬﺎ ﻓﻨﺎﻥ ﺍﻟﺸﺎﺭﻉ ﺍﻟﻤﺤﻠﻲ ﻛﻴﺰﺭ )ﻭﻭﺩ( ﻓﻲ ﻣﻜﺎﻥ ﻗﺮﻳﺐ‪ .‬ﺑﻔﻀﻞ "ﺗﺨﻔﻴﻒ ﺍﻟﺸﺮﻃﺔ‬

‫ﺍﻟﺸﻜﻞ‪ - 4‬ﺍﺣﺘﺮﻡ ﺍﻟﻮﺟﻮﺩ ﺃﻭ ﺗﻮﻗﻊ ﺍﻟﻤﻘﺎﻭﻣﺔ‬

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 ‫ﺍﻟﻘﻮﻯ]ﻭ[ ﻣﻨﺎﺥ ﺃﻛﺜﺮ ﺗﺴﺎﻣﺤﺎً ﺑﻴﻦ ﺍﻟﺴﻜﺎﻥ ﺗﺠﺎﻩ ﺍﻟﻔﻦ ﺍﻟﻌﺎﻡ‪ "،‬ﻛﺎﻧﺖ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﻗﺎﺩﺭﺓﻋﻠﻰ ﺍﻻﺯﺩﻫﺎﺭ )ﺍﻟﺨﺸﺐ(‪ .‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﺑﻌﺾ ﺍﻟﻘﻄﻊ ﻻ ﺗﺤﺘﻮﻱ ﻋﻠﻰ ﺭﺳﺎﺉﻞ ﺳﻴﺎﺳﻴﺔ ﻗﻮﻳﺔ‪ ،‬ﺇﻻ ﺃﻥ ﺍﻟﻜﺜﻴﺮ ﻣﻨﻬﺎ‬

‫ﻳﺘﺤﺪﺙﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﺍﻟﻘﺎﻫﺮﺓ ﻋﻦ "ﺍﻹﺣﺒﺎﻃﺎﺕ ﺍﻟﺘﻲ ﺗﻌﺎﻧﻲ ﻣﻨﻬﺎ ﻣﺼﺮ ﻣﺎ ﺑﻌﺪ ﺍﻟﺜﻮﺭﺓ ﺣﻴﺚ ﻳﺮﻯ ﺍﻟﻜﺜﻴﺮﻭﻥ ﺍﻟﻈﻼﻝ‬

‫ﺍﻟﻨﻈﺎﻡﺍﻟﺴﺎﺑﻖ ﻭﻃﺮﻳﻘﺔ ﻋﻤﻞ ﺍﻷﻣﻮﺭ ﻓﻲ ﺍﻟﺤﻜﻮﻣﺔ ﺍﻻﻧﺘﻘﺎﻟﻴﺔ ﺍﻟﺘﻲ ﻳﺪﻳﺮﻫﺎ ﺍﻟﻌﺴﻜﺮ”‬

‫)ﺧﺸﺐ(‪.‬‬

‫ﻳﻌﻤﻞﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﺍﻟﻘﺎﻫﺮﺓ ﺑﺎﻟﻤﻌﻨﻰ ﺍﻟﺘﻘﻠﻴﺪﻱ‪ :‬ﺗﺸﺠﻴﻊ ﺍﻟﻨﺎﺱ ﻋﻠﻰ ﺭﺳﻢ ﺻﻮﺭﻫﻢ‬

‫ﺍﺳﺘﻨﺘﺎﺟﻬﻢﺍﻟﺨﺎﺹ ﻓﻲ ﻋﺎﻟﻢ ﻳﻘُﺎﻝ ﻟﻬﻢ ﻓﻴﻪ ﺑﺎﺳﺘﻤﺮﺍﺭ ﻣﺎ ﻳﺠﺐ ﻋﻠﻴﻬﻢ ﺍﻟﺘﻔﻜﻴﺮ ﻓﻴﻪ‪ .‬ﺑﻌﺪ‬

‫ﺃﻋﻤﺎﻝﺷﻐﺐ ﺩﺍﻣﻴﺔ ﻓﻲ ﻛﺮﺓ ﺍﻟﻘﺪﻡ ﺑﻴﻦ ﺍﻟﻤﺘﻈﺎﻫﺮﻳﻦ ﻭﺍﻟﺸﺮﻃﺔ ﻓﻲ ﺑﻮﺭﺳﻌﻴﺪ‪ ،‬ﻣﺼﺮ ﻓﻲ ﻓﺒﺮﺍﻳﺮ ‪،2012‬‬

‫ﺃﺻﺒﺢﺷﺎﺭﻉ ﻣﺤﻤﺪ ﻣﺤﻤﻮﺩ ﺍﻵﻥ ﺑﻤﺜﺎﺑﺔ ﻟﻮﺣﺔ ﻟﺒﻌﺾ ﺍﻟﻔﻨﺎﻧﻴﻦ ﺍﻷﻛﺜﺮ ﺇﺑﺪﺍﻋﺎً ﻓﻲ ﻣﺼﺮ‬

‫ﻓﻦﺍﻟﺸﺎﺭﻉ ﺍﻟﺜﻮﺭﻱ )ﺍﻟﺸﻜﻞ ‪ .(5‬ﺗﻘﺮﻳﺮ ﺭﺍﻭﻳﺔ ﺭﺍﺟﺢ ﻓﻲﺍﻟﺠﺰﻳﺮﺓ ﺍﻻﻧﺠﻠﻴﺰﻳﺔﻧﺸﺮﺓ ﺍﻷﺧﺒﺎﺭ‬

‫ﺍﻟﺸﻜﻞ‪ – 5‬ﺟﺪﺍﺭﻳﺔ ﺷﺎﺭﻉ ﻣﺤﻤﺪ ﻣﺤﻤﻮﺩ‬

‫ﺃﻥﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﺍﻟﻘﺎﻫﺮﺓ "ﻳﺄﺧﺬ ﺍﻟﺮﺳﺎﻟﺔ ﺇﻟﻰ ﻣﺴﺘﻮﻯ ﺟﺪﻳﺪ ﺗﻤﺎﻣﺎً ‪ -‬ﻳﺤﻜﻲ ﻗﺼﺔ ﺍﻟﻤﻮﺕ ]ﻭ[‬

‫ﺍﻟﻈﻠﻢﻓﻲ ﺷﺎﺭﻉ ﺷﻬﺪ ﻛﻞ ﺷﻲء”‪ .‬ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺉﻘﻲﺿﺠﻴﺞ ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺍﻟﻔﻨﺎﻧﻮﻥ‬

‫ﺧﻠﻒﺍﻟﺜﻮﺭﺓ ﺍﻟﻤﺼﺮﻳﺔﻳﻠﻘﻲ ﺍﻟﻀﻮء ﻋﻠﻰ ﺟﻤﺎﻫﻴﺮ ﻣﺼﺮ ﺍﻟﺼﺎﻣﺘﺔ ﺍﻟﺘﻲ ﻭﺟﺪﺕ ﻧﻔﺴﻬﺎ‬

‫ﺃﺻﻮﺍﺕﻣﻦ ﺧﻼﻝ ﻣﺮﻛﺒﺔ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ .‬ﻟﻘﺪ ﺃﺷﻌﻠﺖ ﺍﻟﺜﻮﺭﺓ ﺷﺮﺍﺭﺓ "ﻣﺼﺮ ﺍﻟﺠﺪﻳﺪﺓ" ﻣﻦ ﻧﻮﻉ ﻣﺎ‬

‫ﺣﻴﺚﻳﺒﺪﺃ ﺍﻟﻨﺎﺱ‪ ،‬ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺤﺪﺙ ﺑﺤﺮﻳﺔ ﺩﻭﻥ ﺧﻮﻑ‪ ،‬ﻓﻲ ﺍﻟﺘﻮﺍﺻﻞ ﺑﺸﻜﻞ ﺟﺪﻳﺪ ﻭﻣﺨﺘﻠﻒ‬

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 ‫ﺃﻓﻜﺎﺭ‪.‬ﻫﻨﺎﻙ ﺣﻴﺎﺓ ﺟﺪﻳﺪﺓ ﻭﺗﻌﺒﻴﺮ ﺟﺪﻳﺪ ﻓﻲ ﻣﺼﺮ‪ ،‬ﻳﻠﻌﺐ ﺍﻟﻔﻦ ﻓﻴﻪ ﺩﻭﺭﺍً ﺣﻴﻮﻳﺎً‪.‬‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﺍﻻﺯﺩﻫﺎﺭ ﺍﻻﻗﺘﺼﺎﺩﻱ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ‬

‫ﻟﻘﺪﺃﺩﻯ ﻫﺠﻮﻡ ﺍﻷﻧﻈﻤﺔ ﺍﻟﻌﺴﻜﺮﻳﺔ ﻓﻲ ﺍﻟﻌﺎﻟﻢ ﺍﻹﺳﺒﺎﻧﻲ ﺇﻟﻰ ﺗﻘﻠﺒﺎﺕ ﺭﻭﺗﻴﻨﻴﺔ‬

‫ﺑﻴﻦﺍﻷﻧﻈﻤﺔ ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴﺔ ﻭﺍﻻﺳﺘﺒﺪﺍﺩﻳﺔ‪ .‬ﺑﻌﺪ ﺳﻘﻮﻁ ﺍﻟﻨﻈﺎﻡ ﺍﻟﺴﻴﺎﺳﻲ ﺍﻟﺬﻱ‬

‫ﺇﺫﺍﺍﺳﺘﺨﺪﻣﻨﺎ ﺣﻜﻤﺎً ﻗﺎﺳﻴﺎً ﻟﻔﺘﺮﺓ ﻃﻮﻳﻠﺔ ﻣﻦ ﺍﻟﺰﻣﻦ‪» ،‬ﻓﻐﺎﻟﺒﺎً ﻣﺎ ﻳﺤﺪﺙ ﺗﻨﻔﻴﺲ ﻋﺎﻃﻔﻲ‬

‫ﻣﺒﺎﺷﺮﺓﺑﻌﺪ ﺯﻭﺍﻟﻬﺎ" )ﺷﺎﻓﻲ ‪ .(10‬ﻫﺬﺍ ﺍﻟﻐﻀﺐ ﺍﻟﻌﺎﻃﻔﻲ ﻣﻜﺒﻮﺕ ﻧﺘﻴﺠﺔ ﻟﺬﻟﻚ‬

‫"ﺍﻟﺴﻴﻄﺮﺓ ﺍﻟﻘﻤﻌﻴﺔ ﻭﻋﺪﻡ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﺘﻌﺒﻴﺮ ﺑﺤﺮﻳﺔ ﻋﻦ ﺍﻟﻨﻔﺲ ﺃﻭ ﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﻣﻈﺎﻟﻤﻬﺎ"‪.‬‬

‫ﻓﻲﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ "ﺗﻨﺘﺞ ﺗﺪﻓﻘﺎً ﻣﻦ ﺍﻟﺸﻌﺎﺭﺍﺕ ﻭﺍﻟﻤﺸﺎﻋﺮ ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻭﺍﺳﻌﺔ ﻣﻦ ﺍﻟﻤﺠﺘﻤﻊ"‬

‫)‪ .(10‬ﻳﻤﻜﻦ ﺃﻥ ﻳﺴﺘﻤﺮ ﺗﻄﻬﻴﺮ ﺍﻟﻤﺸﺎﻋﺮ ﻣﻦ ﺑﻀﻌﺔ ﺃﺳﺎﺑﻴﻊ ﺇﻟﻰ ﻋﺪﺓ ﺳﻨﻮﺍﺕ‪ ،‬ﻭﻫﻮ ﻛﺬﻟﻚ ﺑﺎﻟﻔﻌﻞ‬

‫ﻳﻨﻌﻜﺲﺫﻟﻚ ﻋﻠﻰ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﻔﺮﺩﻱ ﻭﺍﻟﺠﻤﺎﻋﻲ ﺣﻴﺚ ﻳﻨﻐﻤﺲ ﺍﻟﻨﺎﺱ ﻓﻲ ﺍﻹﻓﺮﺍﻁ ﻓﻲ ﺍﻟﺘﻌﺒﻴﺮ ﺑﻌﺪ ﺳﻨﻮﺍﺕ ﻣﻦ‬

‫ﺍﻟﺼﻤﺖﺍﻟﻌﺬﺍﺏ« )‪ .(١٠‬ﺗﻌﺘﺒﺮ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ‪ ،‬ﻓﻲ ﺃﻧﻘﻰ ﺻﻮﺭﻫﺎ ﻭﺃﻧﻘﻰ ﺻﻮﺭﻫﺎ‪ ،‬ﺑﻤﺜﺎﺑﺔ “ﻋﻤﻞ ﺭﻣﺰﻱ‬

‫ﻟﻼﺣﺘﺠﺎﺝﻭﺍﻟﺘﺤﺪﻱ ﺿﺪ ﺍﻷﻧﻈﻤﺔ ﺍﻟﺴﺎﻗﻄﺔ"‪ ،‬ﻭﻟﻜﻦ ﺃﻳﻀﺎً ﻛﺮﻣﺰ ﻟـ "ﺍﻟﻘﻴﻢ ﺍﻟﻤﺘﺠﺪﺩﺓ‬

‫ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴﺔ" )‪ .(10‬ﺍﻟﻌﻤﻞ ﺍﻟﻤﻨﺘﺞ ﻛﺠﺰء ﻣﻦ ﻫﺬﺍ ﺍﻟﺘﻨﻔﻴﺲ ﻳﺤﻴﻲ ﺫﻛﺮﻯ ﺍﻟﺘﺤﻮﻝ ﺍﻟﺴﻴﺎﺳﻲ‬

‫ﻭﻳﻨﺸﺊﺳﺠﻼ ﺗﺎﺭﻳﺨﻴﺎ ﻟﻸﺣﺪﺍﺙ ﻭﺍﻷﺣﺪﺍﺙ ﻭﺍﻟﻌﻮﺍﻃﻒ ﻭﺍﻟﺘﻔﻜﻴﺮ" )‪.(10‬‬

‫ﺇﻥﺍﻻﺯﺩﻫﺎﺭ ﺍﻻﻗﺘﺼﺎﺩﻱ ﺍﻟﺬﻱ ﺷﻬﺪﺗﻪ ﺍﻟﺒﺮﺍﺯﻳﻞ ﻣﺆﺧﺮﺍ ًﻳﺆﺩﻱ ﺇﻟﻰ ﺗﻔﺎﻗﻢ ﺑﻌﺾ ﺍﻟﻌﻠﻞ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺃﻭﺟﻪ ﻋﺪﻡ ﺍﻟﻤﺴﺎﻭﺍﺓ‬

‫ﻣﻮﺟﻮﺩﺓﺑﺎﻟﻔﻌﻞ ﻓﻲ ﻣﺠﺘﻤﻌﻬﺎ‪ .‬ﻣﺜﻞ ﺍﻷﻳﺎﻡ ﺍﻷﻭﻟﻰ ﻟﻠﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﺒﺮﺍﺯﻳﻠﻴﺔ‬

‫ﻳﻜﺸﻒﺍﻟﻤﺸﻬﺪ "ﻣﻌﺎﺭﺿﺔ ﻗﻮﻳﺔ ﺗﺠﺎﻩ ﺍﻟﻄﺒﻘﺎﺕ ﺍﻟﻌﻠﻴﺎ ﺍﻟﻐﻨﻴﺔ ﻣﻦ ﺍﻟﻨﺎﺱ ﺍﻟﺬﻳﻦ ﻳﻌﻴﺸﻮﻥ ﻓﻲ ﺍﻟﺒﻼﺩ"‪.‬‬

‫ﺍﻷﺣﻴﺎءﺍﻟﻴﻬﻮﺩﻳﺔ" )ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .(18,‬ﻳﻌﻜﺲ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ ﺍﻟﻤﺸﺎﻛﻞ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ‬

‫ﺑﺎﻹﺿﺎﻓﺔﺇﻟﻰ ﺻﺮﺍﻋﺎﺕ ﺍﻟﻤﺨﺪﺭﺍﺕ ﻭﺍﻟﻌﺼﺎﺑﺎﺕ ﺍﻟﺘﻲ ﻳﻌﺮﻓﻬﺎ ﺳﻜﺎﻥ ﺍﻟﺒﻼﺩ ﺟﻴﺪﺍً‪ .‬ﺑﺎﻟﺮﻏﻢ ﻣﻦ‬

‫ﻻﻳﺰﺍﻝ ﻣﻤﺎﺭﺳﻮ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻔﻦ ﻓﻲ ﺍﻟﻤﺮﺍﺣﻞ ﺍﻷﻭﻟﻰ ﻣﻦ ﺗﻄﻮﺭﻩ‪ ،‬ﻭﻗﺪ ﺍﺿﻄﺮﻭﺍ ﺑﺎﻟﻔﻌﻞ ﺇﻟﻰ ﺫﻟﻚ‬

‫ﻟﻠﺘﻨﻮﻳﻊ‪،‬ﺣﻴﺚ ﺃﻧﻪ ﻣﻦ ﺍﻟﺼﻌﺐ ﺟﺪﺍً ﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﻃﻼء ﺍﻟﺮﺵ‪ .‬ﻭﻳﻤﻜﻦ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺃﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﺍﻟﺬﻱﻳﺤﺪﺙ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ ﻷﺳﺒﺎﺏ ﻋﺪﻳﺪﺓ‪ .‬ﺑﺴﺒﺐ ﻋﻮﺍﻣﻞ ﺳﻴﺎﺳﻴﺔ ﻭﺍﻗﺘﺼﺎﺩﻳﺔ ﻣﺨﺘﻠﻔﺔ‪.‬‬

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 ‫ﺍﻟﺸﻜﻞﺍﻟﻔﻨﻲ "ﺍﻟﺬﻱ ﺗﻢ ﺗﻄﻮﻳﺮﻩ ﻓﻲ ﻋﺰﻟﺔ ﻧﺴﺒﻴﺔ" ﻭﺍﻟﺬﻱ "ﺃﺩﻯ ﺇﻟﻰ ﺃﺳﻠﻮﺏ ﻭﻧﻬﺞ ﺷﺪﻳﺪ ﻟﻠﻐﺎﻳﺔ"‪.‬‬

‫ﺍﻷﺻﻠﻲ" )ﻟﻮﻳﺴﻮﻥ ‪ .(52‬ﻳﺨﺘﻠﻒ ﺗﺼﻮﺭ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺃﻳﻀﺎً ﻓﻲ ﺃﻣﺮﻳﻜﺎ ﺍﻟﻼﺗﻴﻨﻴﺔ ﻭﻓﻲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‬

‫ﻓﻲﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ ﻳﻜﻮﻥ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻲ‪ ،‬ﻭﻳﻨﻈﺮ ﺇﻟﻴﻪ ﻋﻠﻰ ﺃﻧﻪ "ﻓﻦ ﺍﻟﺸﻌﺐ"‪ ،‬ﻭﺍﻟﺠﻤﻬﻮﺭ ﻓﺨﻮﺭ ﺑﺎﻷﻟﻮﺍﻥ‬

‫ﺍﻷﻋﻤﺎﻝﺍﻟﺘﻲ ﺗﺰﻳﻦ ﺟﺪﺭﺍﻥ ﺷﻮﺍﺭﻋﻬﻢ )‪.(89‬‬

‫ﺗﻘﻊﺳﺎﻭ ﺑﺎﻭﻟﻮ ﻭﺭﻳﻮ ﺩﻱ ﺟﺎﻧﻴﺮﻭ ﺣﺎﻟﻴﺎً ﻓﻲ ﻣﺮﻛﺰ ﺣﺮﻛﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﺒﻼﺩ‬

‫ﻛﺎﻥﻟﻠﺒﺮﺍﺯﻳﻞ‪ ،‬ﻭﻋﻠﻰ ﻣﺪﻯ ﺍﻟﺴﻨﻮﺍﺕ ﺍﻟﻘﻠﻴﻠﺔ ﺍﻟﻤﺎﺿﻴﺔ‪ ،‬ﺗﺄﺛﻴﺮ ﻛﺒﻴﺮ ﻋﻠﻰ ﺃﻧﻤﺎﻁ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‬

‫ﺍﻟﻜﺮﺓﺍﻷﺭﺿﻴﺔ‪ .‬ﻟﻘﺪ ﻗﺪﻡ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ ﺷﻜﻼ ًﺟﺪﻳﺪﺍً ﺗﻤﺎﻣﺎً ﻣﻦ ﺍﻟﺤﺮﻭﻑ ﺍﻟﻔﻘﺎﻋﻴﺔ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻫﺎ‬

‫ﻋﻼﻣﺔﺍﻻﺣﺘﺮﺍﻡ‪ ،‬ﻻ ﻳﺘﻢ ﺭﺳﻤﻬﺎ ﺃﺑﺪﺍً‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﺈﻥ ﺍﻟﺒﺮﺍﺯﻳﻞ ﻫﻲ ﺍﻷﻛﺜﺮ ﺷﻬﺮﺓ ﺑﺴﺒﺐ ﺍﻟﺒﻴﻜﺴﻼﺳﺎﻭ )ﺃﻭ‬

‫ﺃﺳﻠﻮﺏﻛﺘﺎﺑﺔ ﻏﺎﻣﺾ ﻭﻣﻄﻮﻝ" )ﺍﻟﺸﻜﻞ ‪ (6‬ﻧﺸﺄ ﻓﻲ ﺳﺎﻭ ﺑﺎﻭﻟﻮ ﺧﻼﻝ" (‪pichação‬‬

‫ﺍﻟﺜﻤﺎﻧﻴﻨﺎﺕ)ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪".,‬ﺃﻭ "ﻳﻐﻄﻲ "‪ "pichar‬ﻣﻦ ﺍﻟﻔﻌﻞ ﺍﻟﺒﺮﺗﻐﺎﻟﻲ ‪18-19(. Pixação،‬‬

‫ﻣﻊﺍﻟﻘﻄﺮﺍﻥ‪" ،‬ﻳﻌﻜﺲ ﺍﻻﺿﻤﺤﻼﻝ ﺍﻟﺤﻀﺮﻱ ﻭﺍﻻﻧﻘﺴﺎﻣﺎﺕ ﺍﻟﻄﺒﻘﻴﺔ ﺍﻟﻌﻤﻴﻘﺔ ﺍﻟﺘﻲ ﻻ ﺗﺰﺍﻝ ﺗﺤﺪﺩ ﺍﻟﻜﺜﻴﺮ ﻣﻦ ﺳﺎﻭ‬

‫ﺍﻟﺸﻜﻞ‪ – 6‬ﺑﻴﻜﺴﺎﺳﺎﻭ ﻓﻲ ﺳﺎﻭ ﺑﺎﻭﻟﻮ‬

‫"ﺑﺎﻭﻟﻮ‪ "،‬ﻣﺪﻳﻨﺔ ﺗﺘﺄﻟﻒ ﻣﻦ ﻋﺪﺩ ﺳﻜﺎﻥ ﻳﻘﺘﺮﺏ ﻣﻦ ﻣﺎ ﻳﺰﻳﺪ ﻋﻦ ‪ 20‬ﻣﻠﻴﻮﻥ ﻧﺴﻤﺔ )ﺭﻭﻣﻴﺮﻭ(‪ .‬ﺍﻝ‬

‫ﻣﺆﻟﻔﻮﻫﺬﺍ ﺍﻟﺴﻴﻨﺎﺭﻳﻮ ﺍﻟﻤﻌﺮﻭﻓﻮﻥ ﺑﺎﺳﻢﺑﻴﻜﺴﺎﺩﻭﺭﻳﺲ"ﺍﻟﻤﺨﺎﻃﺮﺓ ﺑﺎﻟﺤﻴﺎﺓ ﻭﺍﻷﻃﺮﺍﻑ" ﻟﻠﻮﺻﻮﻝ ﺇﻟﻰ ﻗﻤﻢ ﺍﻷﻃﻮﻝ‬

‫ﺍﻟﻤﺒﺎﻧﻲ‪،‬ﻭﻋﺪﻡ ﺗﺮﻙ ﺃﻱ ﺳﻄﺢ ﻣﻜﺸﻮﻑ )ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .(18-19,‬ﻳﺴﺘﻬﻠﻚ ﺑﻴﻜﺴﺎﻛﺎﻭ‬

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 ‫ﺗﻘﺮﻳﺒﺎًﻛﻞ ﻣﺒﻨﻰ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ ﻭﺃﻓﻀﻞ ﻭﺻﻒ ﻟﻪ ﻫﻮ ﺃﻧﻪ "ﻣﻨﻈﺮ ﻗﺎﺱ ٍﻟﻠﻐﺎﻳﺔ"‪.‬‬

‫ﺍﻟﻠﻐﺔ" )ﺍﻟﺸﻜﻞ ‪ (7‬ﻫﻲ "ﺑﻴﺎﻥ ﺳﻴﺎﺳﻲ ﺷﺪﻳﺪ" )ﻟﻮﻳﺴﻮﻥ ‪ .(59‬ﺳﻴﻤﻮﻥ ﺭﻭﻣﻴﺮﻭ‬

‫ﻳﺬﻛﺮﻓﻲ ﻣﻘﺎﻟﺘﻪ ﻓﻲ ﺻﺤﻴﻔﺔ ﻧﻴﻮﻳﻮﺭﻙ ﺗﺎﻳﻤﺰ "ﺍﻟﻄﻼء ﺍﻷﺳﻮﺩ ﻓﻲ ﺣﺎﻟﺔ ﺣﺮﺏ ﻣﻊ ﻣﺆﺳﺴﺔ ﺳﺎﻭ ﺑﺎﻭﻟﻮ‬

‫ﻓﻲﺍﻟﻴﺪ"‪ ،‬ﺃﻥ ﺷﺒﺎﺏ ﺳﺎﻭ ﺑﺎﻭﻟﻮ ﺗﺴﻠﺤﻮﺍ ﺑـ"ﺍﻟﻄﻼء ﺍﻷﺳﻮﺩ‪ ،‬ﻭﺍﻟﺒﻜﺮﺍﺕ‪،‬‬

‫ﻋﻠﺐﺍﻟﺮﺵ ﻭﻟﻴﺲ ﻫﻨﺎﻙ ﻧﻘﺺ ﻓﻲ ﺍﻟﺠﺮﺃﺓ ﺍﻟﺸﺨﺼﻴﺔ" ﻓﻲ ﻣﺤﺎﻭﻟﺔ ﻟﻼﻧﺨﺮﺍﻁ ﻓﻲ ﺣﺮﺏ ﻃﺒﻘﻴﺔ ﺿﺪﻫﺎ‬

‫ﺍﻟﻤﻨﺎﻇﺮﺍﻟﻄﺒﻴﻌﻴﺔ ﻟﻤﺪﻳﻨﺘﻬﻢ‪.‬‬

‫ﺍﻟﺸﻜﻞ‪ – 7‬ﺑﻴﻜﺴﺎﺳﺎﻭ ﻓﻲ ﺳﺎﻭ ﺑﺎﻭﻟﻮ )‪(2‬‬

‫ﻋﺎﺯﻣﺔﻋﻠﻰ ﺗﻨﻈﻴﻒ ﺍﻟﻤﺪﻳﻨﺔ‪ ،‬ﺷﻨﺖ ﺍﻟﺴﻠﻄﺎﺕ ﺣﺮﺑﺎ ﻋﻠﻰ ﻣﺎ ﺗﺸﻴﺮ ﺇﻟﻴﻪ‬

‫"ﺍﻟﺘﻠﻮﺙ ﺍﻟﺒﺼﺮﻱ" ﻟﻴﺸﻤﻞ ﺣﻈﺮ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻹﻋﻼﻧﻴﺔ ﻭﺍﻟﻬﺪﻡ ﺍﻟﻤﻬﺠﻮﺭ‬

‫ﻧﺎﻃﺤﺎﺕﺍﻟﺴﺤﺎﺏ ﻭﺍﻟﻄﺮﻕ ﺍﻟﺴﺮﻳﻌﺔ ﺍﻟﻤﺮﺗﻔﻌﺔ )"ﺍﻟﺪﻭﺩﺓ ﺍﻟﻜﺒﻴﺮﺓ"(‪ ،‬ﻭﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﻳﺘﻢ ﺍﻟﺘﻬﺠﻴﺮ ﺍﻟﻌﻨﻴﻒ‬

‫ﺁﻻﻑﺍﻷﺷﺨﺎﺹ ﻣﻦ ﻣﻨﺎﻃﻖ ﻣﻌﻴﻨﺔ ﻣﻦ ﻣﺪﻳﻨﺔ )ﺭﻭﻣﻴﺮﻭ(‪ .‬ﻫﺬﻩ ﺍﻟﻤﻌﺮﻛﺔ »ﺃﺻﺒﺤﺖ ﻣﺘﺸﺎﺑﻜﺔ‬

‫ﻣﻊﺻﺮﺍﻉ ﺍﺟﺘﻤﺎﻋﻲ ﺃﻋﻤﻖ ﺑﻴﻦ ﻣﻦ ﻳﻤﻠﻜﻮﻥ ﻭﻣﻦ ﻻ ﻳﻤﻠﻜﻮﻥ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ‪ ،‬ﺣﻴﺚ ﻳﻐﻀﺐ ﻭ‬

‫ﻳﻨﺘﻔﺾﺍﻟﻤﺤﺮﻭﻣﻮﻥ ﻓﻲ ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﻴﺮ ﻻ ﻣﺜﻴﻞ ﻟﻪ ﻓﻲ ﻣﺪﻥ ﺃﺧﺮﻯ" )ﺭﻭﻣﻴﺮﻭ(‪ .‬ﻗﻮﻱ‬

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 ‫ﻇﻬﺮﺕﺛﻘﺎﻓﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻔﺮﻋﻴﺔ‪ ،‬ﻭﺃﺻﺒﺤﺖ ﺃﻋﻈﻢ ﺃﺩﺍﺓ ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ ﺳﺨﻄﻬﻢ‪،‬‬

‫ﺑﻴﻜﺴﻼﺳﺎﻭ‪ -‬ﺍﻟﺘﻲ ﺗﻮﺻﻒ ﺑﺄﻧﻬﺎ "ﺃﺑﺠﺪﻳﺔ ﻣﺼﻤﻤﺔ ﻟﻠﻐﺰﻭ ﺍﻟﺤﻀﺮﻱ" ‪" -‬ﻏﻄﺖ ﺑﻌﻀﺎً ﻣﻦ‬

‫ﺍﻟﻤﺒﺎﻧﻲﺍﻟﺤﻜﻮﻣﻴﺔ ﻓﻲ ﺳﺎﻭ ﺑﺎﻭﻟﻮ ﻭﺍﻟﻤﺒﺎﻧﻲ ﺍﻟﺴﻜﻨﻴﺔ ﺍﻟﺸﺎﻫﻘﺔ ﻭﺍﻵﺛﺎﺭ ﺍﻟﻌﺎﻣﺔ “)ﺭﻭﻣﻴﺮﻭ(‪.‬‬

‫ﺣﺘﻰﺃﻥ ﻧﺺ ﺍﻟﺒﻴﻜﺴﺎﻭ ﻇﻬﺮ ﻋﻠﻰ ﺫﺭﺍﻉ ﺗﻤﺜﺎﻝ ﺍﻟﻤﺴﻴﺢ ﺍﻟﻔﺎﺩﻱ ﻓﻲ ﺭﻳﻮ ﺩﻱ ﺟﺎﻧﻴﺮﻭ‬

‫)ﺭﻭﻣﻴﺮﻭ(‪.‬‬

‫ﺑﺎﻧﻜﺴﻲ‬

‫ﺗﺬﻛﺮﺟﻮﻟﻴﺎ ﻓﻴﺮﺍﻧﺘﻲ ﺃﻥ ﻋﺎﻟﻢ ﻓﻦ ﺍﻟﺸﺎﺭﻉ "ﻳﻀﻢ ﻋﺪﺩﺍً ﻣﻦ ﺍﻟﻔﻨﺎﻧﻴﻦ ﺍﻟﻤﺸﻬﻮﺭﻳﻦ‬

‫ﺍﻟﺬﻳﻦﻳﻤﻜﻦ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺃﻋﻤﺎﻟﻬﻢ ﻓﻲ ﺍﻟﺸﺎﺭﻉ ﻣﻦ ﺧﻼﻝ ﺍﻷﻧﻤﺎﻁ ﺍﻟﻤﻤﻴﺰﺓ ﻟﻌﻼﻣﺎﺕ ﺍﻟﺘﻮﻗﻴﻊ‪ .‬ﻫﻲ‬

‫ﻭﻳﺬﻛﺮﺃﻧﻪ ﺭﺑﻤﺎ “ﺃﺷﻬﺮﻫﻢ ﻫﻮ ﺍﻟﻔﻨﺎﻥ ﺍﻟﺒﺮﻳﻄﺎﻧﻲ ﺑﺎﻧﻜﺴﻲ ﺍﻟﻤﺸﻬﻮﺭ‬

‫ﻟﻔﻨﻪﺍﻻﺳﺘﻨﺴﻞ ﺍﻟﻤﺸﺤﻮﻥ ﺳﻴﺎﺳﻴﺎ‪ .‬ﻟﻘﺪ ﻫﺮﺑﺖ ﻫﻮﻳﺔ ﺍﻟﻔﻨﺎﻥ ﺍﻹﻧﺠﻠﻴﺰﻱ ﻣﻨﺬ ﻓﺘﺮﺓ ﻃﻮﻳﻠﺔ‬

‫ﻭﺳﺎﺉﻞﺍﻹﻋﻼﻡ ﻓﻲ ﺣﻴﻦ ]ﺑﻄﺮﻳﻘﺔ ﺃﻭ ﺑﺄﺧﺮﻯ[ ﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﺳﻤﻌﺔ ﺩﻭﻟﻴﺔ ")ﻓﻴﺴﻜﻮﻧﺘﻲ ﻭﺁﺧﺮﻭﻥ ‪ (517‬ﺑﺎﻋﺘﺒﺎﺭﻫﺎ‬

‫ﻓﻨﺎﻥﺟﺮﺍﻓﻴﺘﻲ‪ ،‬ﻭﻧﺎﺷﻂ ﺳﻴﺎﺳﻲ‪ ،‬ﻭﻣﺨﺮﺝ ﺳﻴﻨﻤﺎﺉﻲ‪ ،‬ﻭﺭﺳﺎﻡ )ﻣﻔﺎﺭﻗﺔ ﺑﺎﻧﻜﺴﻲ(‪.‬ﺍﻟﻔﻨﺎﻥ‪ ،‬ﻟﺪﻳﻪ‬

‫ﻧﺸﺄﻓﻲ ﺑﺮﻳﺴﺘﻮﻝ‪ ،‬ﻭﻗﺪ "ﺍﻧﺨﺮﻁ ﻓﻲ ﻣﺸﻬﺪ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﻤﺪﻳﻨﺔ ﻣﻨﺬ ﻓﺘﺮﺓ ﻃﻮﻳﻠﺔ ﻓﻲ ﻧﻬﺎﻳﺔ‬

‫ﻃﻔﺮﺓﺍﻟﺜﻤﺎﻧﻴﻨﺎﺕ" )ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .(138,‬ﺑﻴﻨﻤﺎ ﻛﺎﻥ ﻳﺘﻌﺎﻣﻞ ﻓﻲ ﺍﻷﺻﻞ ﻣﻊ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ‬

‫ﺑﺄﺳﻠﻮﺑﻪ‪،‬ﺗﺤﻮﻝ ﺑﺎﻧﻜﺴﻲ ﺇﻟﻰ ﺍﻹﺳﺘﻨﺴﻞ ﺑﻌﺪ ﺣﺎﺩﺛﺔ ﻣﺤﺮﺟﺔ‪ ،‬ﺣﻴﺚ ﺗﺨﻠﻰ ﻋﻨﻪ ﺑﻘﻴﺔ ﺍﻟﻔﻨﺎﻧﻴﻦ‬

‫"ﻷﻧﻪ ﻛﺎﻥ ﻳﺮﺳﻢ ﺑﺒﻂء ﺷﺪﻳﺪ‪ ،‬ﺍﺿﻄﺮ ﻃﺎﻗﻤﻪ ﺇﻟﻰ ﺍﻻﺧﺘﺒﺎء ﻣﻦ ﺍﻟﺴﻠﻄﺎﺕ ﻟﻤﺪﺓ ﺳﺖ ﺳﺎﻋﺎﺕ‬

‫ﺗﺤﺖﺍﻟﻘﻄﺎﺭ )‪ .(138‬ﻟﻘﺪ ﻛﺎﻥ ﺍﻻﺳﺘﻨﺴﻞ ﻫﻮ ﺍﻟﺬﻱ ﺳﻤﺢ ﻟﻪ ﺑﺎﻟﺘﻌﺒﻴﺮ ﺑﺸﻜﻞ ﺃﻓﻀﻞ ﻋﻦ ﺳﺨﺮﻳﺘﻪ ﻭ‬

‫ﺗﻌﻠﻴﻖﻓﻜﺎﻫﻲ ﺇﻟﻰ ﻭﺳﻴﻠﺔ ﺍﺗﺼﺎﻝ ﻗﻮﻳﺔ‪.‬‬

‫ﻳﺸﺘﻤﻞﻋﻤﻞ ﺑﺎﻧﻜﺴﻲ ﻋﻠﻰ ﺍﻟﻨﻜﺎﺕ ﺍﻟﺴﺎﺧﺮﺓ ﻭﺍﻟﺘﺨﺮﻳﺒﻴﺔ ﻟﺘﻮﺻﻴﻞ ﺃ‬

‫ﺍﻟﻔﻜﺎﻫﺔﺍﻟﺴﻮﺩﺍء ﺍﻟﻔﺎﺿﺤﺔ ﺍﻟﺘﻲ ﻳﺘﻢ ﺗﻨﻔﻴﺬﻫﺎ ﻣﻦ ﺧﻼﻝ ﺗﻘﻨﻴﺔ ﺍﻻﺳﺘﻨﺴﻞ )ﺍﻟﺸﻜﻞ ‪ .(8‬ﻣﺜﻞ ﻫﺬﻩ ﺍﻷﻋﻤﺎﻝ‬

‫ﻇﻬﺮﺕﺍﻟﺘﻌﻠﻴﻘﺎﺕ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻋﻠﻰ ﺍﻟﻼﻓﺘﺎﺕ ﻭﺍﻟﺠﺪﺭﺍﻥ ﻭﺍﻟﺸﻮﺍﺭﻉ ﻭﺍﻟﺠﺴﻮﺭ ﺍﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﻤﺪﻳﻨﺔ‬

‫ﻋﺎﻟﻢ‪)،‬ﻣﻔﺎﺭﻗﺔ ﺑﺎﻧﻜﺴﻲ( ﻭﻗﺪ ﺫﻫﺐ ﺑﺎﻧﻜﺴﻲ ﺇﻟﻰ ﺃﺑﻌﺪ ﻣﻦ ﺫﻟﻚ ﻓﻲ ﺑﻨﺎء ﺍﻟﺪﻋﺎﺉﻢ ﺍﻟﻤﺎﺩﻳﺔ )ﺑﻴﻜﺮ(‪.‬‬

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 ‫ﺍﻟﺸﻜﻞ‪ - 8‬ﺍﺗﺒﻊ ﺃﺣﻼﻣﻚ )ﻣﻠﻐﺎﺓ(‬

‫ﻳﺘﻤﻴﺰﻓﻦ ﺑﺎﻧﻜﺴﻲ ﺑﺼﻮﺭ ﻷﻧﻮﺍﻉ ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﺍﻟﺤﻴﻮﺍﻧﺎﺕ ﻣﺜﻞ ﺍﻟﻔﺉﺮﺍﻥ ﻭﺍﻟﻘﺮﺩﺓ ﻭﺭﺟﺎﻝ ﺍﻟﺸﺮﻃﺔ‪،‬‬

‫ﺍﻷﻃﻔﺎﻝﻭﺍﻟﺠﻨﻮﺩ ﻭﻛﺒﺎﺭ ﺍﻟﺴﻦ ﻭﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺃﻳﻘﻮﻧﺎﺕ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ .‬ﺍﺳﺘﻨﺴﻼﺗﻪ ﻛﻼﻫﻤﺎ ﺭﻭﺡ ﺍﻟﺪﻋﺎﺑﺔ‬

‫ﻭﺑﺎﺭﺯﺓ‪،‬ﻭﻏﺎﻟﺒﺎً ﻣﺎ ﻳﺘﻢ ﺩﻣﺠﻬﺎ ﻣﻊ ﺷﻌﺎﺭﺍﺕ ﻟﺘﻮﺻﻴﻞ ﺭﺳﺎﻟﺔ ﻣﻨﺎﻫﻀﺔ ﻟﻠﺤﺮﺏ ﺑﺸﻜﻞ ﻋﺎﻡ‪،‬‬

‫ﻣﻨﺎﻫﻀﺔﻟﻠﻤﺆﺳﺴﺔ ﺃﻭ ﻣﻨﺎﻫﻀﺔ ﻟﻠﺮﺃﺳﻤﺎﻟﻴﺔ ﺑﻄﺒﻴﻌﺘﻬﺎ‪ .‬ﻭﻗﺪ ﺻﺮﺡ ﺍﻟﻔﻨﺎﻥ ﺃﻧﻪ ﻣﻦ ﺧﻼﻝ ﻋﻤﻠﻪ‬

‫"ﺃﺭﻳﺪ ﺃﻥ ﺃﻇﻬﺮ ﺃﻥ ﺍﻟﻤﺎﻝ ﻟﻢ ﻳﺴﺤﻖ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻣﻦ ﻛﻞ ﺷﻲء‪".‬‬

‫ﺍﻛﺘﺴﺐﺑﺎﻧﻜﺴﻲ ﺷﻬﺮﺓ ﺩﻭﻟﻴﺔ ﻣﻦ ﺧﻼﻝ ﺗﺠﺎﻭﺯ ﺍﻟﺤﺪﻭﺩ ﻣﻦ ﺧﻼﻝ ﺃﻋﻤﺎﻟﻪ ﺍﻟﺘﻲ ﻻ ﺗﻌﺪ ﻭﻻ ﺗﺤﺼﻰ‬

‫ﻗﻄﻊﻣﻦ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﻣﻘﺎﻟﺐ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻴﺔ ﻣﺜﻞ ﺍﻷﻋﻤﺎﻝ ﻋﻠﻰ ﺍﻟﺠﺪﺍﺭ ﺍﻟﻌﺎﺯﻝ ﺍﻹﺳﺮﺍﺉﻴﻠﻲ‬

‫)ﺍﻟﺸﻜﻞ ‪ (9‬ﺍﻟﺘﻲ ﺗﻌﻜﺲ ﺍﻟﻮﺿﻊ ﺍﻟﺴﻴﺎﺳﻲ ﺍﻟﻤﺤﻴﻂ ﺑﺎﻟﻤﻨﻄﻘﺔ‪ .‬ﻳﺬﻛﺮ ﺭﺍﻧﺪﻱ ﻛﻴﻨﻴﺪﻱ ﻓﻲ ﻛﺘﺎﺑﻪ‬

‫ﻣﻘﺎﻟﺔﻧﻴﻮﻳﻮﺭﻙ ﺗﺎﻳﻤﺰ “ﻫﻞ ﺗﺤﺘﺎﺝ ﺇﻟﻰ ﻣﻮﻫﺒﺔ ﻟﻌﺮﺿﻬﺎ ﻓﻲ ﺍﻟﻤﺘﺎﺣﻒ؟ ﻟﻴﺲ ﻫﺬﺍ ﺍﻟﻤﺨﺎﺩﻉ "‪ ،‬ﺁﺧﺮ‬

‫ﺍﻟﺤﺎﺩﺛﺔﺍﻟﺘﻲ ﺗﺴﻠﻞ ﻓﻴﻬﺎ ﺑﺎﻧﻜﺴﻲ ﺇﻟﻰ ﻗﻠﻢ ﺍﻟﻔﻴﻞ ﻓﻲ ﺣﺪﻳﻘﺔ ﺣﻴﻮﺍﻥ ﻟﻨﺪﻥ ﻟﻴﻜﺘﺐ ﺭﺳﺎﻟﺔ‬

‫ﺍﻟﺘﻲﻋﺒﺮﺕ ﻋﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﺍﻟﻔﻴﻞ‪" :‬ﺃﺭﻳﺪ ﺍﻟﺨﺮﻭﺝ‪ .‬ﻫﺬﺍ ﺍﻟﻤﻜﺎﻥ ﺑﺎﺭﺩ ﺟﺪﺍ ًﺣﺎﺭﺱ‬

‫ﺍﻟﺮﻭﺍﺉﺢ‪.‬ﻣﻤﻞ‪ ،‬ﻣﻤﻞ‪ ،‬ﻣﻤﻞ‪ ".‬ﺣﻴﻠﺔ ﺃﺧﺮﻯ ﺍﻛﺘﺴﺐ ﻣﻦ ﺧﻼﻟﻬﺎ ﺻﺤﺎﻓﺔ ﻛﺒﻴﺮﺓ‬

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 ‫ﺍﻟﺸﻜﻞ‪ – 9‬ﺑﺎﻧﻜﺴﻲ ﻋﻠﻰ ﺣﺎﺟﺰ ﺍﻟﻀﻔﺔ ﺍﻟﻐﺮﺑﻴﺔ‬

‫ﻛﺎﻧﺖﺍﻟﺘﻐﻄﻴﺔ ﻋﺒﺎﺭﺓ ﻋﻦ ﺗﺮﻛﻴﺐ ﻓﺄﺭ ﻣﺤﺸﻮ ﺑﻨﻈﺎﺭﺍﺕ ﺷﻤﺴﻴﺔ ﻣﻠﻔﻮﻓﺔ ﻋﻠﻰ ﺍﻟﺤﺎﺉﻂ ﻓﻲ ‪Natural‬‬

‫ﻣﺘﺤﻒﺍﻟﺘﺎﺭﻳﺦ ﻓﻲ ﻟﻨﺪﻥ‪ .‬ﻭﺷﻤﻠﺖ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻤﺜﻴﺮﺓ ﺍﻷﺧﺮﻯ "ﻧﺴﺦ ﺍﻟﺘﻼﻋﺐ ﻣﻦ ﺃﻭﻝ ﻇﻬﻮﺭ ﻟﺒﺎﺭﻳﺲ ﻫﻴﻠﺘﻮﻥ‬

‫ﺍﻷﻟﺒﻮﻡﻓﻲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﻣﺘﺎﺟﺮ ﺍﻟﺘﺴﺠﻴﻼﺕ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻤﻤﻠﻜﺔ ﺍﻟﻤﺘﺤﺪﺓ‪ ،‬ﻭ]ﺣﺘﻰ[ ﻭﺿﻊ ﻧﺴﺨﺔ ﻃﺒﻖ ﺍﻷﺻﻞ ﺑﺎﻟﺤﺠﻢ ﺍﻟﻄﺒﻴﻌﻲ ﻣﻦ ﻣﻠﻒ‬

‫ﻣﻌﺘﻘﻞﺧﻠﻴﺞ ﻏﻮﺍﻧﺘﺎﻧﺎﻣﻮ ﻓﻲ ﺩﻳﺰﻧﻲ ﻻﻧﺪ" )ﻏﺎﻧﺰ‪،‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .(139,‬ﻓﻲ ﺍﻵﻭﻧﺔ ﺍﻷﺧﻴﺮﺓ‪ ،‬ﻫﻮ‬

‫ﺗﻤﻜﻦﻣﻦ "ﻧﻘﻞ ﺃﻋﻤﺎﻟﻪ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻔﻜﺎﻫﻴﺔ ﺇﻟﻰ ﺃﺭﺑﻊ ﻣﺆﺳﺴﺎﺕ ﻓﻲ ﻧﻴﻮﻳﻮﺭﻙ ‪ -‬ﺍﻟﻤﺘﺤﻒ‬

‫ﻟﻠﻔﻦﺍﻟﺤﺪﻳﺚ‪ ،‬ﻭﻣﺘﺤﻒ ﺍﻟﻤﺘﺮﻭﺑﻮﻟﻴﺘﺎﻥ ﻟﻠﻔﻨﻮﻥ‪ ،‬ﻭﻣﺘﺤﻒ ﺑﺮﻭﻛﻠﻴﻦ‪ ،‬ﻭﺍﻟﻤﺘﺤﻒ ﺍﻷﻣﺮﻳﻜﻲ‬

‫ﻣﺘﺤﻒﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﻄﺒﻴﻌﻲ]‪ [،‬ﻭ]ﻳﻌﻠﻘﻮﻧﻬﺎ[ ﺑـ‪ ...‬ﻻﺻﻘﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﺇﻟﻰ ﺟﺎﻧﺐ ﺃﺷﻴﺎء ﺃﺧﺮﻯ‬

‫ﺍﻟﻠﻮﺣﺎﺕﻭﺍﻟﻤﻌﺎﺭﺽ ")ﻛﻴﻨﻴﺪﻱ(‪ .‬ﻻ ﻳﻤﻜﻦ ﺇﻧﻜﺎﺭ ﺃﻥ "ﺇﺣﺴﺎﺳﻪ ﺑﺎﻟﻤﻜﺎﻧﺔ" ﻫﻮ ﺩﺍﺉﻤﺎً ﻛﻼ ﺍﻷﻣﺮﻳﻦ‬

‫"ﻣﻌﺘﺒﺮﺓ ﻟﻠﻐﺎﻳﺔ ﻭﻓﻌﺎﻟﺔ ﻟﻠﻐﺎﻳﺔ‪ ،‬ﻭﺑﻴﻨﻤﺎ ﻳﻘﺪﻡ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﺭﺳﺎﺉﻠﻬﻢ ﻓﻲ ﻣﻠﻒ‬

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 ‫ﺃﺯﻳﺎء"ﺧﺬﻫﺎ ﺃﻭ ﺍﺗﺮﻛﻬﺎ" ﺩﻭﻥ ﺃﻱ ﺧﻄﺎﺏ ﺣﻮﻝ ﻋﻤﻠﻬﻢ‪ ،‬ﻳﻘﺪﻡ ﺑﺎﻧﻜﺴﻲ ﺷﻜﻼ ًﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ‬

‫ﺍﻟﺮﺃﻱﺍﻟﻨﺎﻗﺪ ﻣﺮﺍﺭﺍً ﻭﺗﻜﺮﺍﺭﺍً” )‪.(Lewisohn 117‬‬

‫ﻛﺎﻧﺖﺇﺿﺎﻓﺔ ﺑﺎﻧﻜﺴﻲ ﺇﻟﻰ ﺍﻟﺠﻨﺎﺡ ﺍﻷﻣﺮﻳﻜﻲ ﻟـ ‪ MET‬ﻋﺒﺎﺭﺓ ﻋﻦ ﺻﻮﺭﺓ ﺻﻐﻴﺮﺓ ﺫﺍﺕ ﺇﻃﺎﺭ ﺫﻫﺒﻲ ﻟـ‬

‫ﺍﻣﺮﺃﺓﺗﺮﺗﺪﻱ ﻗﻨﺎﻉ ﻏﺎﺯ )ﺍﻟﺸﻜﻞ ‪ .(10‬ﻛﺎﻧﺖ ﻣﺴﺎﻫﻤﺘﻪ ﻓﻲ ﻣﺘﺤﻒ ﺑﺮﻭﻛﻠﻴﻦ ﺃ‬

‫ﻟﻮﺣﺔﻟﻀﺎﺑﻂ ﻋﺴﻜﺮﻱ ﻣﻦ ﺍﻟﺤﻘﺒﺔ ﺍﻻﺳﺘﻌﻤﺎﺭﻳﺔ ﻳﺮﺗﺪﻱ ﻣﻌﻄﻔﺎً ﺃﺣﻤﺮ )ﺍﻟﺸﻜﻞ ‪ .(11‬ﻛﺎﻥ ﺍﻟﺮﺟﻞ ﻳﺤﻤﻞ ﺃ‬

‫ﻋﻠﺒﺔﻃﻼء ﺑﺎﻟﺮﺵ‪ ،‬ﻣﻊ ﻛﺘﺎﺑﺎﺕ ﻣﻨﺎﻫﻀﺔ ﻟﻠﺤﺮﺏ ﻓﻲ ﺍﻟﺨﻠﻔﻴﺔ‪ .‬ﻟﻘﺪ ﺗﻢ ﺗﻌﻠﻴﻘﻪ ﺑﺸﻜﻞ ﺇﺳﺘﺮﺍﺗﻴﺠﻲ‪،‬‬

‫ﻻﺷﻚ ﻓﻲ ﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻟﺪﺍﺉﻤﺔ ﻟﻠﻤﺘﺤﻒ ﻓﻲ ﻣﻌﺮﺽ ﺍﻟﻬﻮﻳﺎﺕ ﺍﻷﻣﺮﻳﻜﻴﺔ‪ .‬ﺑﻌﺪ ﻓﺘﺮﺓ ﻭﺟﻴﺰﺓ‬

‫ﻇﻬﺮﺕﺑﻌﺪ ﺗﻨﻔﻴﺬ ﻫﺬﻩ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻤﺜﻴﺮﺓ ﺻﻮﺭﺍً ‪ -‬ﻳﺒﺪﻭ ﺃﻧﻬﺎ ﺍﻟﺘﻘﻄﺖ ﻣﻦ ﻗﺒﻞ ﺷﺮﻳﻚ ﻟﺒﺎﻧﻜﺴﻲ‬

‫ﻋﻠﻰﻣﻮﻗﻊ ‪" - Wooster Collective‬ﻣﺴﺘﻮﺩﻉ ﻟﺼﻮﺭ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻏﻴﺮﻫﺎ ﻣﻦ ﺍﻟﺸﻮﺍﺭﻉ ﻭﺍﻟﺸﻮﺍﺭﻉ‪".‬‬

‫ﺍﻟﺸﻜﻞ‪ – 11‬ﺿﺎﺑﻂ ﻣﻊ ﺭﺫﺍﺫ ﺍﻟﻄﻼء‬ ‫ﺍﻟﺸﻜﻞ‪ - 10‬ﺍﻣﺮﺃﺓ ﺗﺮﺗﺪﻱ ﻗﻨﺎﻉ ﻏﺎﺯ‬

‫ﺍﻟﻔﻦﺍﻟﺤﻀﺮﻱ‪ ".‬ﻭﺗﻈﻬﺮ ﺍﻟﺼﻮﺭ ﺭﺟﻼ ًﻣﻠﺘﺤﻴﺎ ًﻳﺮﺗﺪﻱ ﻣﻌﻄﻔﺎ ًﻭﻗﺒﻌﺔ‪" ،‬ﻳﺒﺪﻭ ﻭﻛﺄﻧﻪ‬

‫"ﺍﻟﻤﻔﺘﺶ ﺟﺎﻙ ﻛﻠﻮﺯﻭ ﻳﻌﻠﻖ ﻟﻮﺣﺎﺗﻪ ﻓﻲ ﺍﻟﻤﺘﺎﺣﻒ" )ﻛﻴﻨﻴﺪﻱ(‪ .‬ﺑﺎﻧﻜﺴﻲ‬

‫ﻋﺒﺮﻋﻦ ﺍﻟﺪﺍﻓﻊ ﻭﺭﺍء ﻏﺰﻭﺍﺕ ﺍﻟﻤﺘﺤﻒ ﻫﺬﻩ ﻫﻮ ﺃﻧﻪ "]ﻛﺎﻥ[ ﻳﺘﺠﻮﻝ ﻛﺜﻴﺮﺍً‬

‫ﻣﻦﺗﻔﻜﻴﺮ ﺍﻟﻤﻌﺎﺭﺽ ﺍﻟﻔﻨﻴﺔ‪" ،‬ﻛﺎﻥ ﺑﺈﻣﻜﺎﻧﻲ ﻓﻌﻞ ﺫﻟﻚ"‪ ،‬ﻟﺬﻟﻚ ﺑﺪﺍ ﻣﻦ ﺍﻟﺼﻮﺍﺏ ﺃﻥ ﺃﺣﺎﻭﻝ"‪ .‬ﻫﻮ‬

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‫ﺫﻛﺮﺃﻥ "ﺻﺎﻻﺕ ﺍﻟﻌﺮﺽ ﻫﻲ ﻣﺠﺮﺩ ﺧﺰﺍﺉﻦ ﺗﺬﻛﺎﺭﻳﺔ ﻟﺤﻔﻨﺔ ﻣﻦ ﺃﺻﺤﺎﺏ ﺍﻟﻤﻼﻳﻴﻦ ‪ ...‬ﻭﻟﻢ ﻳﻜﻦ ﺍﻟﺠﻤﻬﻮﺭ ﻛﺬﻟﻚ ﺃﺑﺪﺍً‬

‫ﺃﻱﺭﺃﻱ ﺣﻘﻴﻘﻲ ﻓﻲ ﺃﻱ ﻓﻦ ﻳﺮﻭﻧﻪ" )ﻛﻴﻨﻴﺪﻱ(‪.‬‬

‫ﺟﺎﻥﻣﻴﺸﻴﻞ ﺑﺎﺳﻜﻴﺎﺕ‬

‫ﻋﻠﻰﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻧﻪ ﺍﺷﺘﻬﺮ ﺑﻠﻮﺣﺎﺗﻪ ﺍﻻﻧﻄﺒﺎﻋﻴﺔ ﺍﻟﺠﺪﻳﺪﺓ‪ ،‬ﻓﻘﺪ ﺗﻄﻮﺭﺕ ﻧﺤﻮ ﺍﻟﻨﺼﻒ ﺍﻷﺧﻴﺮ‬

‫ﺧﻼﻝﺣﻴﺎﺗﻪ ﺍﻟﻤﻬﻨﻴﺔ‪ ،‬ﻳﻤﻜﻦ ﺑﺴﻬﻮﻟﺔ ﺗﺘﻮﻳﺞ ﺟﺎﻥ ﻣﻴﺸﻴﻞ ﺑﺎﺳﻜﻴﺎﺕ ﻛﺮﺍﺉﺪ ﻓﻲ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ .‬ﻓﻲ ﻣﻘﺎﻟﺘﻪ‬

‫"ﺍﻟﺴﻨﻮﺍﺕ ﺍﻟﺤﺎﺳﻤﺔ‪ :‬ﻣﻼﺣﻈﺎﺕ ﻋﻠﻰ ﺧﻤﺴﺔ ﺃﻋﻤﺎﻝ ﺭﺉﻴﺴﻴﺔ"‪ ،‬ﻳﺼﻒ ﻓﺮﻳﺪ ﻫﻮﻓﻤﺎﻥ ﺑﺎﺳﻜﻴﺎﺕ ﻛﻔﻨﺎﻥ‬

‫ﺑﺠﻮﺩﺓﻓﻄﺮﻳﺔ ﺃﺗﺎﺣﺖ ﻟﻪ "ﺍﺳﺘﺨﻼﺹ ﺗﺼﻮﺭﺍﺗﻪ ﻋﻦ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺨﺎﺭﺟﻲ"‪.‬‬

‫ﺟﻮﻫﺮﻫﺎ‪،‬ﻭﺑﺪﻭﺭﻫﺎ ]ﻳﻌﺮﺿﻬﺎ[ ﻟﻠﺨﺎﺭﺝ ﻣﻦ ﺧﻼﻝ ﺃﻋﻤﺎﻟﻪ ﺍﻹﺑﺪﺍﻋﻴﺔ‪ .‬ﻭﻗﺪ ﺗﺠﻠﻰ ﻫﺬﺍ ﺍﻟﺪﻭﺭ‬

‫ﻧﻔﺴﻬﺎﺗﺤﺖ ﺍﺳﻢ ﻣﺴﺘﻌﺎﺭ ‪ ،SAMO‬ﻭﺗﺮﻣﺰ ﺇﻟﻰ ‪) Same Old Shit‬ﺍﻟﺸﻜﻞ ‪ .(12‬ﻭﻣﻦ ﺧﻼﻝ ﻫﺬﺍ ﺍﻟﻮﺳﻢ‬

‫"ﺣﻮﻝّ ﺑﺎﺳﻜﻴﺎﺕ ﻣﻼﺣﻈﺎﺗﻪ ﺍﻟﺨﺎﺻﺔ ﺇﻟﻰ ﺭﺳﺎﺉﻞ ﻧﺼﻴﺔ ﺑﻠﻴﻐﺔ ﻣﻨﻘﻮﺷﺔ ﻋﻠﻰ ﺻﺮﻭﺡ ﺍﻟﻜﻨﻴﺴﺔ‬

‫ﺍﻟﺸﻜﻞ‪ - 12‬ﺳﺎﻣﻮ‬

‫ﺍﻟﺒﻴﺉﺔﺍﻟﺤﻀﺮﻳﺔ"‪ ،‬ﻭﻟﻢ ﻳﻤﺾ ﻭﻗﺖ ﻃﻮﻳﻞ ﻗﺒﻞ ﺃﻥ ﺗﺼﺒﺢ ﻭﺳﺎﺉﻞ ﺍﻟﺘﻌﺒﻴﺮ ﻫﺬﻩ ﻫﻲ "ﺍﻷﺳﺎﺱ"‪.‬‬

‫"ﻹﻧﺘﺎﺟﻪ ﺍﻟﻔﻨﻲ ﺍﻟﻤﺒﻜﺮ" )ﻫﻮﻓﻤﺎﻥ(‪ .‬ﺑﺎﺳﺘﺨﺪﺍﻡ ﻛﻠﻤﺔ ﻭﺍﺣﺪﺓ ﻓﻘﻂ‪ ،‬ﺃﻭ ﻋﺒﺎﺭﺓ ﻗﺼﻴﺮﺓ‪ ،‬ﺃﻭ "ﺻﻮﺭﺓ ﺑﺴﻴﻄﺔ"‪.‬‬

‫ﺗﺸﻴﺮﺇﻟﻰ ﺷﺨﺺ ﺃﻭ ﺣﺪﺙ ﺃﻭ ﻣﻼﺣﻈﺔ ﺣﺪﻳﺜﺔ‪" ،‬ﻋﻤﻠﻪ" ﺻﻘﻞ ﺍﻹﺩﺭﺍﻙ ﺍﻟﺨﺎﺭﺟﻲ ﻭﺻﻮﻻ ًﺇﻟﻰ‬

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‫ﺟﻮﻫﺮﻫﺎ")ﻫﻮﻓﻤﺎﻥ(‪ .‬ﻳﺬﻛﺮ ﺟﻴﻔﺮﻱ ﺩﻳﺘﺶ ﺃﻥ ﻋﻼﻣﺔ ‪ SAMO‬ﻛﺎﻧﺖ ﺷﻜﻼ ًﻣﻦ ﺃﺷﻜﺎﻝ "ﺍﻟﺸﺎﺭﻉ ﺍﻟﻤﻔﻜﻚ"‪.‬‬

‫ﺷﻌﺮﻓﻲ ﺃﻭﺍﺧﺮ ﺍﻟﺴﺒﻌﻴﻨﻴﺎﺕ‪ ،‬ﻟﻢ ﻳﻜﻦ ﻣﻦ ﺍﻟﻤﻤﻜﻦ ﻟﻠﻤﺮء ﺍﻟﺬﻫﺎﺏ ﺇﻟﻰ ﺃﻱ ﻣﻜﺎﻥ ﻣﺜﻴﺮ ﻟﻼﻫﺘﻤﺎﻡ ﻓﻲ ﻣﺎﻧﻬﺎﺗﻦ ﺍﻟﺴﻔﻠﻰ ﺑﺪﻭﻧﻪ‬

‫ﻻﺣﻈﺖﺃﻥ ﺷﺨﺼﺎً ﻳﺪُﻋﻰ ﺳﺎﻣﻮ ﻛﺎﻥ ﻫﻨﺎﻙ ﺃﻭﻻ‪ "ً.‬ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ ‪ SAMO‬ﺗﻤﺖ ﻛﺘﺎﺑﺘﻪ ﻟﻠﺘﻮ ﺑﺎﺳﻢ‬

‫ﺍﻻﺳﻢ‪،‬ﻣﺎ ﻳﻤﺜﻠﻪ ﻟﻢ ﻳﻜﻦ ﻣﺠﺮﺩ ﺍﺳﻢ ﻋﻠﻰ ﺍﻹﻃﻼﻕ‪ .‬ﻭﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻥ ﻛﺘﺎﺑﺔ ﺍﻟﺸﺎﺭﻉ ﺑﺎﺳﻜﻴﺎﺕ‬

‫ﻻﻋﻼﻗﺔ ﻟﻬﺎ ﺑﻮﺿﻊ ﺍﻟﻌﻼﻣﺎﺕ‪ ،‬ﻭﻻ ﺗﻌﻤﻞ ﺑﻨﻔﺲ ﺍﻟﻄﺮﻳﻘﺔ‪ .‬ﻭﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻧﻪ ﻳﺮﻳﺪ ﻟﻪ‬

‫ﺍﻟﻜﺘﺎﺑﺔﻟﻴﻘﺮﺃﻫﺎ ﻋﺎﻣﺔ ﺍﻟﻨﺎﺱ ﻣﻦ ﺃﺟﻞ ﺇﻳﺼﺎﻝ ﺍﻟﻤﻌﻨﻰ‪ .‬ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﺨﺪﺍﻡ‬

‫ﺍﻟﺒﺎﺭﻛﻮﺩ‪،‬ﻭﺭﻣﻮﺯ ﺍﻟﺸﺮﻛﺎﺕ‪ ،‬ﻭﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﺃﻭﺻﻞ ﺑﺎﺳﻜﻴﺎﺕ ﺭﺳﺎﻟﺔ ﺃﻛﺒﺮ‬

‫ﺍﻟﺬﻱﺃﺳﺮ ﻭﺃﺛﺎﺭ ﻣﺸﺎﻫﺪﻳﻪ ﻟﺴﻨﻮﺍﺕ‪.‬‬

‫ﺷﻴﺒﺮﺩﻓﻴﺮﻱ‬

‫ﻳﺸُﺎﺭﺇﻟﻴﻪ ﻛﺄﺣﺪ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻷﻛﺜﺮ ﺗﺄﺛﻴﺮﺍً ﺍﻟﻴﻮﻡ ﻣﻦ ﻗﺒﻞ ﻣﻌﻬﺪ‬

‫ﺍﻟﻔﻦﺍﻟﻤﻌﺎﺻﺮ‪ ،‬ﺑﻮﺳﻄﻦ‪ ،‬ﻭﻗﺪ ﻋﺮﺽ ﺷﻴﺒﺮﺩ ﻓﻴﺮﻱ ﺍﻟﻌﻤﻞ ﻓﻲ ﺳﻤﻴﺜﺴﻮﻧﻴﺎﻥ‪ ،‬ﻓﻴﻜﺘﻮﺭﻳﺎ ﻭ‬

‫ﻣﺘﺤﻒﺃﻟﺒﺮﺕ‪ ،‬ﻭﻣﺘﺤﻒ ﻣﻘﺎﻃﻌﺔ ﻟﻮﺱ ﺃﻧﺠﻠﻮﺱ ﻟﻠﻔﻨﻮﻥ‪ ،‬ﻭﻣﺘﺤﻒ ﺍﻟﻔﻦ ﺍﻟﺤﺪﻳﺚ‬

‫ﻣﻦﺑﻴﻦ ﺃﻣﻮﺭ ﺃﺧﺮﻯ‪ .‬ﻣﻠﺼﻘﻪ "ﺍﻷﻣﻞ" ﻟﺒﺎﺭﺍﻙ ﺃﻭﺑﺎﻣﺎ )ﻛﺠﺰء ﻣﻦ ﺣﻤﻠﺘﻪ ﺍﻟﺮﺉﺎﺳﻴﺔ ﻟﻌﺎﻡ ‪(2008‬‬

‫ﺳﺎﻫﻢﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻓﻲ ﺷﻬﺮﺗﻪ ﻭﻗﺒﻮﻟﻪ ﺍﻟﺴﺎﺉﺪ ﻛﻔﻨﺎﻥ ﺷﺎﺭﻉ‪ ،‬ﻟﻜﻦ ﻣﺴﻴﺮﺗﻪ ﻛﺎﻧﺖ ﻛﺬﻟﻚ‬

‫ﺗﻢﺇﻃﻼﻗﻬﺎ ﻓﻲ ﺍﻟﻨﻬﺎﻳﺔ ﻣﻊ ﺣﻤﻠﺔ "ﻃﺎﻋﺔ"‪ ،‬ﻭﻫﻲ ﺣﻤﻠﺔ ﻓﻨﻴﺔ ﻓﻲ ﺍﻟﺸﻮﺍﺭﻉ ﺑﺄﺳﻠﻮﺏ ﺩﻋﺎﺉﻲ ﺗﻄﻮﺭﺕ ﺍﻵﻥ‬

‫ﺇﻟﻰ"ﺷﺮﻛﺔ ﻣﻼﺑﺲ‪ ،‬ﻭﻭﻛﺎﻟﺔ ﺗﺼﻤﻴﻢ ﺟﺮﺍﻓﻴﻚ‪ ،‬ﻭﻧﺎﺷﺮ ﻣﺠﻠﺔ‪ ،‬ﻭﺑﺪﻳﻞ ﺷﺎﻣﻞ‬

‫ﺇﻣﺒﺮﺍﻃﻮﺭﻳﺔ" )ﻟﻮﻳﺴﻮﻥ ‪ .(101‬ﻇﻬﺮﺕ ﺍﻟﺤﻤﻠﺔ ﻓﻲ ﺍﻷﺻﻞ ﻋﻠﻰ ﺻﻮﺭﺓ ﻣﺼﺎﺭﻉ ﺃﻣﺮﻳﻜﻲ‬

‫ﺃﻧﺪﺭﻳﻪﺍﻟﻌﻤﻼﻕ ﻣﻊ ﻛﻠﻤﺔ "ﻃﺎﻋﺔ" ﻣﻜﺘﻮﺑﺔ ﺟﻨﺒﺎً ﺇﻟﻰ ﺟﻨﺐ )ﺍﻟﺸﻜﻞ ‪ .(13‬ﺑﺪﺃﺕ ﻓﻴﺮﻱ‬

‫ﻗﺎﻡﺑﻠﺼﻖ ﺍﻟﺼﻮﺭ ﺣﻮﻝ ﻣﺴﻘﻂ ﺭﺃﺳﻪ ﻓﻲ ﺗﺸﺎﺭﻟﺴﺘﻮﻥ‪ ،‬ﻛﺎﺭﻭﻟﻴﻨﺎ ﺍﻟﺠﻨﻮﺑﻴﺔ‪ ،‬ﻟﻜﻨﻪ ﺳﺮﻋﺎﻥ ﻣﺎ ﻗﺎﻡ ﺑﺮﺣﻼﺕ‬

‫ﻓﻲﺍﻟﺨﺎﺭﺝ ﻓﻲ ﻣﺤﺎﻭﻟﺔ ﻟﻨﺸﺮ ﺭﺳﺎﻟﺘﻪ "ﻏﻴﺮ"‪ .‬ﻟﻘﺪ ﺟﺴﺪ ﻓﻴﺮﻱ ﺍﺑﺘﻜﺎﺭﺍً ﻋﻈﻴﻤﺎً ﻭﺃﺭﺳﻞ‬

‫ﻧﺸﺮﻣﻠﺼﻘﺎﺗﻪ ﻋﻠﻰ ﺷﺒﻜﺔ ﻣﻦ ﺍﻟﻤﺘﻌﺎﻭﻧﻴﻦ ﺣﻮﻝ ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻭﺍﻟﺬﻳﻦ ﺑﺪﻭﺭﻫﻢ ﻳﻘﻮﻣﻮﻥ ﺑﻠﺼﻖ ﺍﻟﺼﻮﺭ‬

‫ﻟﻪ‪.‬ﻟﻢ ﻳﺴﺘﻐﺮﻕ ﺍﻷﻣﺮ ﻭﻗﺘﺎً ﻃﻮﻳﻼ ًﺣﺘﻰ ﺍﻧﺘﺸﺮﺕ ﺍﻟﺤﻤﻠﺔ‪ ،‬ﻭﺳﺮﻋﺎﻥ ﻣﺎ ﻇﻬﺮﺕ ﺻﻮﺭ ﺃﻭﺑﻲ‬

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 ‫ﺗﻘﺮﻳﺒﺎﻛﻞ ﻣﺪﻳﻨﺔ ﺭﺉﻴﺴﻴﺔ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‪ .‬ﺗﻜﺮﺍﺭ‬

‫ﺇﻟﻰﺟﺎﻧﺐ "ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﻐﺎﻣﻀﺔ ﻟﻠﺼﻮﺭ‪،‬‬

‫ﺍﻟﺮﻣﺰﻳﺔﺍﻟﻤﺎﺉﻠﺔ‪] ،‬ﻭ[ ﺃﻧﻈﻤﺔ ﺍﻷﻟﻮﺍﻥ ﺍﻻﺳﺘﺒﺪﺍﺩﻳﺔ‬

‫"ﺍﻷﺣﻤﺮ ﻭﺍﻷﺑﻴﺾ ﻭﺍﻷﺳﻮﺩ" ﺳﺎﻫﻢ ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻓﻲ‬

‫ﻧﺠﺎﺡﺍﻟﻤﺸﺮﻭﻉ )‪ .(101‬ﺍﻟﺼﻮﺭﺓ ﺍﻟﺸﺮﻳﺮﺓ ﻟﺪﻳﻬﺎ ﺣﺘﻰ‬

‫ﻗﻴﻞﺃﻧﻪ ﻳﺮﺑﻚ ﻭﻳﻐﻀﺐ ﺍﻟﻤﺸﺎﻫﺪﻳﻦ ﺍﻟﺬﻳﻦ ﻓﻌﻠﻮﺍ ﺫﻟﻚ‬

‫ﺃﺧﻄﺄﻓﻲ ﺍﻟﻌﻤﻞ ﺍﻟﻤﺤﺎﻛﺎﺓ ﺍﻟﺴﺎﺧﺮﺓ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺷﻜﻼ ًﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻔﺎﺷﻲ ﺍﻟﺠﺎﺩ‬

‫ﺩﻋﺎﻳﺔ‪.‬ﺭﻭﺑﺮﺕ ﺑﻴﻨﻜﻮﺱ‪ ،‬ﺍﻟﻨﺎﻗﺪ ﺍﻟﻔﻨﻲ ﻟﺴﺎﻥ ﺩﻳﻴﻐﻮ‬

‫ﺍﻻﺗﺤﺎﺩ‪-‬ﺗﺮﻳﺒﻴﻮﻥ‪ ،‬ﺗﻨﺺ ﻋﻠﻰ ﺃﻥ ﺣﻤﻠﺔ ﻃﺎﻋﺔ ﻛﺎﻧﺖ ﺃ‬

‫"ﺭﺩ ﻓﻌﻞ ﺿﺪ ﺍﻟﻔﻦ ﺍﻟﺴﻴﺎﺳﻲ ﺍﻟﺴﺎﺑﻖ" ﻭﺃﺛﻨﺎء ﺫﻟﻚ‬

‫"ﻟﻢ ﻳﻘﺪﻡ ﺃﻱ ﺭﺳﺎﻟﺔ ﻭﺍﺿﺤﺔ‪ "،‬ﻛﺎﻥ "ﺑﺸﻜﻞ ﺇﻳﺤﺎﺉﻲ"‪.‬‬

‫ﺍﻟﺸﻜﻞ‪ - 13‬ﻃﺎﻋﺔ‬

‫ﻣﻨﺎﻫﻀﺔﻟﻠﺴﻠﻄﻮﻳﺔ‪".‬‬

‫ﺟﻲﺁﺭ‬

‫ﺍﻟﺬﻱﺫﻛﺮ ﺃﻥ ﺍﻟﺸﺎﺭﻉ ﻫﻮ "ﺃﻛﺒﺮ ﻣﻌﺮﺽ ﻓﻨﻲ ﻓﻲ ﺍﻟﻌﺎﻟﻢ"‪ ،‬ﻫﻮ ﺷﺒﻪ ﻣﺠﻬﻮﻝ ‪JR،‬‬

‫ﻓﻨﺎﻥﺍﻟﺸﺎﺭﻉ ﺍﻟﻔﺮﻧﺴﻲ ﺍﻟﺬﻱ ﻳﻘﻮﻡ ﺑﻮﺿﻊ ﻣﻠﺼﻘﺎﺕ ﻛﺒﻴﺮﺓ ﻓﻲ ﺃﻣﺎﻛﻦ ﻏﻴﺮ ﻣﺼﺮﺡ ﺑﻬﺎ‬

‫ﺻﻮﺭﻓﻮﺗﻮﻏﺮﺍﻓﻴﺔ ﺑﺎﻷﺑﻴﺾ ﻭﺍﻷﺳﻮﺩ ﻟﻮﺟﻮﻩ ﺑﺸﺮﻳﺔ ﻋﺒﺮ ﻣﺴﺎﺣﺎﺕ ﺿﺨﻤﺔ ﻓﻲ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺤﻀﺮﻳﺔ ﻭﺍﻟﺤﻀﺮﻳﺔ‬

‫ﺍﻟﻤﻨﺎﻇﺮﺍﻟﻄﺒﻴﻌﻴﺔ ﻓﻲ ﺍﻟﻀﻮﺍﺣﻲ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‪ .‬ﻳﺘﺤﺪﻯ ﻋﻤﻠﻪ ﺍﻟﻤﻔﺎﻫﻴﻢ ﺍﻟﻤﺴﺒﻘﺔ ﺍﻟﺘﻲ ﻳﺮﻭﺝ ﻟﻬﺎ‬

‫ﻭﺳﺎﺉﻞﺍﻹﻋﻼﻡ‪ ،‬ﻭﺃﻛﺴﺒﺘﻪ ﺗﻘﺪﻳﺮﺍً ﻛﺒﻴﺮﺍً ﻹﻧﺠﺎﺯﺍﺗﻪ‪ ،‬ﻣﺜﻞ ﺟﺎﺉﺰﺓ ‪TED‬‬

‫ﻟﻌﺎﻡ‪ .2011‬ﻭﻟﺪﺕ ﺟﺎﺉﺰﺓ ‪ TED‬ﻣﻦ ﺭﺣﻢ ﻣﺆﺗﻤﺮ ‪ TED‬ﻭﻳﺘﻢ ﻣﻨﺤﻬﺎ ﺇﻟﻰ ﺟﻮﺍﺉﺰ ﺍﻟﻌﺎﻟﻢ‬

‫ﺭﻭﺍﺩﺍﻷﻋﻤﺎﻝ ﻭﺍﻟﻤﺒﺘﻜﺮﻭﻥ ﻭﺍﻟﻔﻨﺎﻧﻮﻥ ﺍﻟﺮﺍﺉﺪﻭﻥ ﻹﻟﻬﺎﻡ ﺍﻟﺘﻐﻴﻴﺮ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‪ .‬ﺑﻴﻨﻤﺎ ﻟﻪ‬

‫ﻳﻤﻜﻦﺭﺅﻳﺔ ﺍﻟﺼﻮﺭ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‪ ،‬ﺑﺪﺃ ﻓﻲ ﺷﻮﺍﺭﻉ ﺑﺎﺭﻳﺲ‪ .‬ﺃﺑﺮﺯ ﺃﻋﻤﺎﻟﻪ‬

‫"ﺍﻟﺘﺠﺎﻭﺭﺍﺕ ﺍﻟﺒﺴﻴﻄﺔ ﺍﻟﺘﻲ ﻳﻨﺘﺠﻬﺎ ﺍﻷﺷﺨﺎﺹ ﺍﻟﻌﺎﺩﻳﻮﻥ‪ ،‬ﻭﻓﻲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﺗﺘﻌﺎﺭﺽ ﻣﻊ‬

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 ‫ﺍﻟﺮﺳﺎﺉﻞﺍﻻﺧﺘﺰﺍﻟﻴﺔ ﺍﻟﺘﻲ ﺗﻨﺸﺮﻫﺎ ﺍﻹﻋﻼﻧﺎﺕ ﻭﻭﺳﺎﺉﻞ ﺍﻹﻋﻼﻡ ﺍﻟﺴﺎﺉﺪﺓ” )‪ .(Lewisohn 123‬ﻳﺄﺧﺬ ‪JR‬‬

‫ﺻﻮﺭﻓﻮﺗﻮﻏﺮﺍﻓﻴﺔ ﻟﻸﺷﺨﺎﺹ ﺛﻢ ﺗﻘﻮﻡ ﺑﻠﺼﻖ ﺍﻟﺼﻮﺭ ﻛﺒﻴﺮﺓ ﺍﻟﺤﺠﻢ ﻋﻠﻰ ﻃﻮﻝ ﺟﺪﺭﺍﻥ ﺍﻟﺸﻮﺍﺭﻉ‪ .‬ﺍﻟﻔﻨﺎﻥ‬

‫ﺗﺘﻄﻠﻊﺇﻟﻰ ﺍﻟﺸﺎﺭﻉ ﻟﺘﻮﻓﻴﺮ ﺍﻟﻘﻤﺎﺵ ﻭﺍﻟﺠﻮ ﻭﺍﻷﺷﺨﺎﺹ ﺍﻟﺬﻳﻦ ﻳﺴﻜﻨﻮﻥ ﻫﺬﻩ ﺍﻟﻤﺴﺎﺣﺎﺕ‬

‫ﻟﺘﻮﻓﻴﺮﺍﻟﺴﻴﺎﻕ‪ .‬ﻓﻲ ﺃﺣﺪ ﻣﺸﺎﺭﻳﻌﻪ‪ ،‬ﺍﺳﺘﺨﺪﻡ ‪ JR‬ﺻﻮﺭﺍً ﻟﺒﻌﺾ ﺳﻜﺎﻥ ﺍﻟﻤﻨﻄﻘﺔ‬

‫ﺍﻷﺣﻴﺎءﺍﻟﺒﺎﺭﻳﺴﻴﺔ‪ ،‬ﻭﻭﺿﻌﻮﻫﺎ ﻓﻲ ﻭﺳﻂ ﺍﻟﻤﺪﻳﻨﺔ‪ .‬ﺍﻟﻌﻤﻞ "ﻟﻔﺖ ﺍﻻﻧﺘﺒﺎﻩ ﺇﻟﻰ‬

‫ﺍﻟﻔﺠﻮﺓﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﺑﻴﻦ ﺍﻟﺒﺎﺭﻳﺴﻴﻴﻦ ﺍﻷﺛﺮﻳﺎء ﻭﺍﻟﺴﻜﺎﻥ ﺍﻟﻤﺤﺮﻭﻣﻴﻦ ﻓﻲ ﻛﻠﻴﺸﻲ ﺳﻮ ﺑﻮﺍ‪،‬‬

‫ﻣﺴﺮﺡﺃﻋﻤﺎﻝ ﺍﻟﺸﻐﺐ ﻓﻲ ﺍﻵﻭﻧﺔ ﺍﻷﺧﻴﺮﺓ” )‪.(123‬‬

‫ﻭﻫﻨﺎﻙﻣﺸﺮﻭﻉ ﻣﻬﻢ ﺁﺧﺮ ﻗﺎﺩ ﺟﻲ ﺁﺭ ﺇﻟﻰ ﺇﺳﺮﺍﺉﻴﻞ‪ ،‬ﺣﻴﺚ ﺃﻧﺘﺞ ﺻﻮﺭﺍً ﻷﺷﺨﺎﺹ ﻣﻨﻬﺎ‬

‫ﻛﻼﺍﻟﺠﺎﻧﺒﻴﻦ ﻣﻦ ﺍﻻﻧﻘﺴﺎﻡ ﺍﻟﺪﻳﻨﻲ‪ .‬ﻭﺗﻀﻤﻦ ﺍﻟﻤﺸﺮﻭﻉ ﺻﻮﺭﺍً ﻟﻔﻠﺴﻄﻴﻨﻴﻴﻦ ﻋﺎﺩﻳﻴﻦ‪ ،‬ﻣﺜﻞ‬

‫ﺳﺎﺉﻘﻮﺳﻴﺎﺭﺍﺕ ﺍﻷﺟﺮﺓ‪ ،‬ﻭﺍﻟﻄﻬﺎﺓ‪ ،‬ﻭﺍﻟﻤﻌﻠﻤﻮﻥ ﺍﻟﺬﻳﻦ ﺗﻢ ﻟﺼﻘﻬﻢ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﺃﻭ ﺃﺳﻔﻞ ﺻﻮﺭ ﺍﻹﺳﺮﺍﺉﻴﻠﻴﻴﻦ ﺍﻟﺬﻳﻦ ﻳﺤﻤﻠﻮﻥ ﻧﻔﺲ ﺍﻟﺼﻮﺭ‬

‫ﺍﻟﻮﻇﻴﻔﺔ)ﺍﻟﺸﻜﻞ ‪ .(14‬ﺗﻢ ﻋﺮﺽ ﻫﺬﺍ ﺍﻟﻤﺸﺮﻭﻉ ﻋﻠﻰ ﺟﺎﻧﺒﻲ ﺍﻟﺠﺪﺍﺭ ﺍﻟﻌﺎﺯﻝ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ‬

‫ﺍﻟﺸﻜﻞ‪– 14‬ﺻﻮﺭ ﺍﻟﺠﺪﺍﺭ ﺍﻟﻔﺎﺻﻞ‬

‫ﻗﻮﺑﻞﺍﻟﻮﺿﻊ ﺍﻟﺴﻴﺎﺳﻲ ﺍﻟﻤﺘﻮﺗﺮ ﺑﺮﺩﻭﺩ ﻓﻌﻞ ﺇﻳﺠﺎﺑﻴﺔ‪ .‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﻤﻮﺟﻮﺩﺓ ﻓﻲ ﻓﻠﺴﻄﻴﻦ‬

‫ﻫﻮﺃﻣﺮ ﺳﻴﺎﺳﻲ ﺑﺤﺖ ﺑﻄﺒﻴﻌﺘﻪ‪ ،‬ﻭﺑﻴﻨﻤﺎ ﻛﺎﻥ ﻫﻨﺎﻙ ﺍﺭﺗﺒﺎﻙ ﺃﻭﻟﻲ ﻣﻦ ﺍﻟﺠﻤﻬﻮﺭ ﺑﺸﺄﻥ ﻫﺬﺍ ﺍﻷﻣﺮ‬

‫ﻟﻐﺮﺽﻫﺬﺍ ﺍﻟﻤﺸﺮﻭﻉ “ﺗﻨﻮﻋﺖ ﺍﻟﺘﻔﺴﻴﺮﺍﺕ ﻣﻦ ﺍﻟﻘﺮﺍءﺍﺕ ﺍﻟﺴﻴﺎﺳﻴﺔ ﺇﻟﻰ ﺍﻟﻘﺮﺍءﺍﺕ ﺍﻟﺠﻤﺎﻟﻴﺔ ﻟﻠﻌﻤﻞ”‪.‬‬

‫)‪.(123‬‬

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 ‫ﺇﻥﻋﻤﻞ ‪ JR‬ﻓﻲ ﺃﻣﺎﻛﻦ ﺍﻟﻨﺰﺍﻉ ﻫﻮ ﺍﻟﺬﻱ ﺃﺩﻯ ﺇﻟﻰ ﺗﺠﺮﺑﺔ ﻣﺒﺎﺷﺮﺓ ﻟﻠﻤﻮﺍﻗﻊ ﻭﺍﻷﺣﺪﺍﺙ‬

‫ﺍﻟﻤﻮﺍﻗﻒ‪،‬ﻭﻣﻜﻦ ﺍﻟﻤﺸﺎﻫﺪ ﻣﻦ "ﺍﺧﺘﺮﺍﻕ ﺍﻟﺘﺼﻮﺭﺍﺕ ﺍﻟﻤﺴﺒﻘﺔ ﺍﻟﺘﻲ ﺗﻢ ﺇﻧﺸﺎﺅﻫﺎ ﺑﻮﺍﺳﻄﺔ‬

‫ﻭﺳﺎﺉﻞﺍﻹﻋﻼﻡ" )‪ .(123‬ﻳﺠﺴﺪ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻟﺨﺎﺹ ﺑﻪ ﺍﻟﻄﺮﻕ ﺍﻟﺘﻲ ﻳﻤﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‬

‫"ﻓﻀﺢ ﺍﻟﺼﻮﺭ ﺍﻟﻨﻤﻄﻴﺔ ﺍﻹﻋﻼﻣﻴﺔ ﻣﻊ ﺍﻻﺳﺘﻔﺎﺩﺓ ﻓﻲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻣﻦ ﺍﻻﻫﺘﻤﺎﻡ ﺍﻹﻋﻼﻣﻲ ﺍﻟﺬﻱ ﻳﻮﻓﺮﻩ ﺍﻟﻌﻤﻞ‬

‫ﺍﻧﺸﺮﻭﺍﺭﺳﺎﻟﺔ ﺑﺪﻳﻠﺔ" )‪.(١٢٣‬‬

‫ﺑﺎﺧﺘﺼﺎﺭ‪،‬ﺗﺴﺎﻫﻢ ﺍﻟﻤﻨﺎﻇﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻓﻲ ﺃﻫﻤﻴﺔ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪.‬‬

‫ﻓﻬﻮﻻ ﻳﻮﻓﺮ ﻟﻮﺣﺔ ﻟﻠﺘﻌﺒﻴﺮ ﺍﻟﺒﺼﺮﻱ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻳﺴﺘﻤﺪ ﻗﻮﺗﻪ ﺃﻳﻀﺎً ﻣﻦ ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﺫﻟﻚ‬

‫ﺗﻮﺻﻴﻞﺭﺳﺎﺉﻞ ﻏﻴﺮ ﺧﺎﺿﻌﺔ ﻟﻠﺮﻗﺎﺑﺔ ﻣﺒﺎﺷﺮﺓ ﺇﻟﻰ ﺍﻟﻤﺎﺭﺓ‪ .‬ﻣﻊ ﺗﻘﺪﻡ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‪ ،‬ﺃﺻﺒﺢ‬

‫ﺍﻛﺘﺴﺒﺖﺣﻀﻮﺭﺍ ًﺩﻭﻟﻴﺎ ًﻛﺒﻴﺮﺍ ًﻣﻦ ﺧﻼﻝ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﻤﻬﻴﻤﻨﻴﻦ ﻭﺍﻟﻤﺨﺘﻠﻔﻴﻦ‬

‫ﺍﻟﺘﻌﺮﺽﻓﻲ ﻭﺳﺎﺉﻞ ﺍﻹﻋﻼﻡ ‪ -‬ﺍﻟﻜﺘﺐ ﻭﺍﻷﻓﻼﻡ ﻭﺍﻟﻤﺠﻼﺕ ﻭﻣﻌﺎﺭﺽ ﺍﻟﻤﺘﺎﺣﻒ ﻭﺍﻟﻮﻳﺐ‪ .‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭ‬

‫ﺗﺠﺴﺪﺣﺮﻛﺎﺕ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻟﺘﻲ ﺗﺤﺪﺙ ﻓﻲ ﻣﺼﺮ ﻭﺍﻟﺒﺮﺍﺯﻳﻞ ﻛﻴﻒ ﺃﺻﺒﺢ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‬

‫ﺟﺰءﻣﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺒﺼﺮﻳﺔ ﻟﻬﺬﻩ ﺍﻟﺒﻠﺪﺍﻥ‪ ،‬ﻛﻤﺎ ﻫﻮ ﺍﻟﺤﺎﻝ ﻓﻲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺒﻠﺪﺍﻥ ﺣﻮﻝ ﺍﻟﻌﺎﻟﻢ‪ .‬ﻣﺼﺮ‬

‫ﻛﺎﻥﻟﻠﺜﻮﺭﺓ ﺍﻷﺧﻴﺮﺓ ﻭﺍﻻﺯﺩﻫﺎﺭ ﺍﻻﻗﺘﺼﺎﺩﻱ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ ﺁﺛﺎﺭ ﻛﺒﻴﺮﺓ ﻋﻠﻰ ﺷﻜﻞ ﺍﻟﻔﻦ ﻭﺧﺼﺎﺉﺼﻪ‬

‫ﺩﻭﺭﻫﺎﻛﺄﺩﺍﺓ ﺣﻴﻮﻳﺔ ﻟﻼﺣﺘﺠﺎﺝ ﻹﻋﻄﺎء ﺻﻮﺕ ﻷﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ ﻟﺪﻳﻬﻢ ﺳﻠﻄﺔ ﻗﻠﻴﻠﺔ ﺃﻭ ﻣﻌﺪﻭﻣﺔ‪.‬‬

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‫ﺇﻋﺎﺩﺓﺗﻌﺮﻳﻒ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ‬

‫ﻣﻦﺧﻼﻝ ﺍﻟﺼﻮﺭ ﺍﻟﻤﺮﺉﻴﺔ ﻭﺍﻷﻳﻘﻮﻧﺎﺕ‪ ،‬ﻳﻨﻘﻞ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻟﺮﺳﺎﺉﻞ ﺍﻟﺘﻲ ﻳﺘﻢ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻴﻬﺎ‬

‫ﻣﻮﺿﻮﻋﺎﺕﻣﺜﻞ ﻣﻨﺎﻫﻀﺔ ﺍﻟﺤﺮﺏ ﻭﻣﻌﺎﺩﺍﺓ ﺍﻟﺮﺃﺳﻤﺎﻟﻴﺔ ﻭﺍﻟﻔﻮﺿﻮﻳﺔ ﻭﺍﻟﻨﻔﺎﻕ ﻭﺍﻟﺠﺸﻊ ﻭﺍﻟﻔﻘﺮ ﻭﺍﻟﻴﺄﺱ‪ .‬ﻛﻼﻫﻤﺎ‬

‫ﺇﻥﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﺍﻟﻤﺘﺄﺻﻞ ﺳﻴﺎﺳﻴﺎً ﻭﺃﻳﺪﻳﻮﻟﻮﺟﻴﺎً‪" ،‬ﻳﺪﻳﻦ ﺍﻟﻨﻔﺎﻕ ﻭﺍﻟﺰﻳﻒ"‪.‬‬

‫ﺍﻟﻤﺠﺘﻤﻊﺍﻟﺤﺎﻟﻲ" ﻭﻳﻨﻘﻞ ﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﻓﻌﻞ "ﺗﺸﻮﻳﻪ" ﺍﻟﻤﺴﺎﺣﺔ ﺍﻟﻌﺎﻣﺔ )‪.Visconti et al‬‬

‫‪ .(517‬ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﻋﺪﻡ ﺷﺮﻋﻴﺘﻪ‪ ،‬ﺃﻋﺘﻘﺪ ﺃﻧﻪ ﻳﺠﺐ ﺍﻻﻋﺘﺮﺍﻑ ﺑﻬﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺫﻟﻚ‬

‫ﺭﺳﺎﻟﺔﺃﻳﺪﻳﻮﻟﻮﺟﻴﺔ‪ .‬ﺇﻧﻪ ﺑﻤﺜﺎﺑﺔ "ﺑﻴﺎﻥ ﻳﻨﺎﻓﺲ ﺍﻟﻬﻴﻤﻨﺔ ﻋﻠﻰ ﺍﻟﺴﻮﻕ ﻭ‬

‫ﺍﺳﺘﻐﻼﻝﺍﻟﻤﺴﺘﻬﻠﻚ‪] ،‬ﻭ[ ﻳﺘﻢ ﺗﻔﺴﻴﺮﻩ ﻋﻠﻰ ﺃﻧﻪ ﺇﺩﺍﻧﺔ ﻟﻠﻨﺰﻋﺔ ﺍﻻﺳﺘﻬﻼﻛﻴﺔ ﻭ‬

‫ﺗﺠﺎﻭﺯﺍﺕﺍﻟﻤﺎﺩﻳﺔ ﻓﻲ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ” )ﻓﻴﺴﻜﻮﻧﺘﻲ ﻭﺁﺧﺮﻭﻥ ‪ .(524‬ﻣﻦ ﺃﺟﻞ ﺍﻟﻔﻬﻢ‪ ،‬ﺃﻧﺎ‬

‫ﻳﻘﺼﺪﺑـ "ﺍﻟﻤﺴﺎﺣﺔ ﺍﻟﻌﺎﻣﺔ" ﺍﻹﺷﺎﺭﺓ ﺇﻟﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﺍﻟﻤﻤﺘﻠﻜﺎﺕ ﺍﻟﺘﻲ ﻳﻌﺘﻘﺪ ﺃﻧﻬﺎ ﺧﺎﺻﺔ ﺃﻭ ﺣﻜﻮﻣﻴﺔ ‪-‬‬

‫ﻣﻨﺎﻃﻖﺧﺎﺿﻌﺔ ﻟﻠﺮﻗﺎﺑﺔ ‪ -‬ﻭﻫﻲ ﻣﻨﺎﻃﻖ ﻻ ﻳﻤﻜﻦ ﻟﻠﻔﻨﺎﻧﻴﻦ ﺃﻥ ﻳﻨﺘﻘﺼﻮﺍ ﻣﻨﻬﺎ ﺑﺸﻜﻞ ﻗﺎﻧﻮﻧﻲ‪.‬‬

‫ﻭﻓﻘﺎًﻟﻠﻜﺘﺎﺑﺔ ﺍﻟﻤﻘﺪﻣﺔ ﻣﻦ ﺟﺎﻣﻌﺔ ﺷﻴﻜﺎﻏﻮ ﻟـﻣﺠﻠﺔ‬

‫ﺑﺤﺚﺍﻟﻤﺴﺘﻬﻠﻚ"ﺍﺳﺘﻬﻼﻙ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ :‬ﺍﺳﺘﻌﺎﺩﺓ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ"‪" ،‬ﺍﻟﻔﺮﺍﻍ ﺍﻟﻤﺘﻜﺮﺭ‬

‫ﻭﻟﻮﺣﻆﻭﺟﻮﺩ ﺧﻴﺒﺔ ﺃﻣﻞ ﻓﻲ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﻲ ﻳﺘﻔﺎﻭﺽ ﺑﻬﺎ ﺍﻟﻤﻮﺍﻃﻨﻮﻥ ﻣﻊ ﺍﻟﻤﺴﺎﺣﺎﺕ ﺍﻟﺤﻀﺮﻳﺔ‪ .‬ﺇﻧﻪ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﻭﺍﻟﺘﻲ‪،‬ﺑﺎﻋﺘﺒﺎﺭﻫﺎ "ﻇﺎﻫﺮﺓ ﻣﺘﻨﺎﻗﻀﺔ ﻭﻣﺘﻌﺪﺩﺓ ﺍﻷﻭﺟﻪ"‪ ،‬ﺍﺳﺘﻤﺮﺕ "ﻓﻲ ﺗﺤﻔﻴﺰ ﺍﻟﺤﻴﻮﻳﺔ‬

‫ﻣﻨﺎﻗﺸﺔﺣﻮﻝ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ ﻭﻋﻼﻗﺘﻪ ﺑﺎﻟﺴﻮﻕ‪ .‬ﺗﺴﺘﻤﺮ ﺍﻟﻜﺘﺎﺑﺔ‪“ ،‬ﻷﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ‬

‫ﺃﺷﻌﺮﺃﻥ ﺷﻌﺎﺭﺍﺕ ﺍﻟﺸﺮﻛﺎﺕ ﺗﺴﻴﻄﺮ ﻋﻠﻰ ﺍﻟﻤﻨﺎﻇﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ‪ ،‬ﻓﺈﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻳﺠﺪﺩ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ‬

‫ﺑﻴﻨﻤﺎﻧﺘﺤﺪﺙ ﻣﺮﺓ ﺃﺧﺮﻯ ﻋﻦ ﺛﻘﺎﻓﺔ ﺍﻹﻓﺮﺍﻁ ﻓﻲ ﺍﻻﺳﺘﻬﻼﻙ‪ .‬ﺍﻟﻔﻨﺎﻧﻮﻥ ﻳﺜﻴﺮﻭﻥ ﺃﻫﻤﻴﺔ‬

‫ﺍﻟﺤﻮﺍﺭﻣﻦ ﺧﻼﻝ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻟﺨﺎﺹ ﺑﻬﻢ “ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﺒﺤﺚ ﻋﻦ ﻣﺴﺎﺣﺔ ﻣﺸﺘﺮﻛﺔ ﻭﺇﺭﺳﺎء ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴﺔ‬

‫ﻣﻦﺍﻟﻔﻦ‪ ".‬ﻳﺴﻌﻰ ﻓﻨﺎﻧﻮ ﺍﻟﺸﻮﺍﺭﻉ ﺇﻟﻰ ﺇﺛﺒﺎﺕ ﺃﻧﻪ "ﺑﻴﻨﻤﺎ ﻳﻤﻜﻦ ﺍﻟﺘﻨﺎﻓﺲ ﻋﻠﻰ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺧﺎﺻﺎً‬

‫"ﻭﺗﻘﻮﻡ ﺍﻟﺸﺮﻛﺎﺕ ﺑﺘﺴﻮﻳﻘﻬﺎ"‪ ،‬ﻓﺎﻟﻔﻨﺎﻧﻮﻥ ﻫﻢ ﺍﻟﺬﻳﻦ ﻳﻘﺪﻣﻮﻥ ﺍﻟﻤﺴﺎﺣﺔ ﺍﻟﻌﺎﻣﺔ "ﻛﻤﺠﻤﻮﻋﺔ‬

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 ‫ﺟﻴﺪ‪،‬ﺣﻴﺚ ﻳﻌﻴﺪﻩ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻻﻧﺘﻤﺎء ﻭﺍﻟﺤﻮﺍﺭ ﺇﻟﻰ ﻣﻜﺎﻥ ﺫﻱ ﻣﻌﻨﻰ‪ .‬ﻳﺠﺎﺩﻝ ﺑﺎﻧﻜﺴﻲ‬

‫ﺍﻟﺬﻱ‪ -‬ﺍﻟﺘﻲ‪:‬‬

‫ﺍﻷﺷﺨﺎﺹﺍﻟﺬﻳﻦ ﻳﺪﻳﺮﻭﻥ ﻣﺪﻧﻨﺎ ﻻ ﻳﻔﻬﻤﻮﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻷﻧﻬﻢ ﻻ ﻳﻔﻜﺮﻭﻥ ﻓﻲ ﺃﻱ ﺷﻲء‬

‫ﻟﻪﺍﻟﺤﻖ ﻓﻲ ﺍﻟﻮﺟﻮﺩ ﻣﺎ ﻟﻢ ﻳﺤﻘﻖ ﺭﺑﺤﺎً‪ ...‬ﺍﻷﺷﺨﺎﺹ ﺍﻟﺬﻳﻦ ﻳﺸﻮﻫﻮﻧﻨﺎ ﺣﻘﺎً‬

‫ﺍﻷﺣﻴﺎءﻫﻲ ﺍﻟﺸﺮﻛﺎﺕ ﺍﻟﺘﻲ ﺗﺨﺮﺑﺶ ﺷﻌﺎﺭﺍﺕ ﻋﻤﻼﻗﺔ ﻋﺒﺮ ﺍﻟﻤﺒﺎﻧﻲ ﻭ‬

‫ﺗﺤﺎﻭﻝﺍﻟﺤﺎﻓﻼﺕ ﺃﻥ ﺗﺠﻌﻠﻨﺎ ﻧﺸﻌﺮ ﺑﻌﺪﻡ ﺍﻟﻜﻔﺎءﺓ ﺇﻻ ﺇﺫﺍ ﺍﺷﺘﺮﻳﻨﺎ ﺃﻏﺮﺍﺿﻬﺎ‪ .‬ﺃﻱ‬

‫ﺇﻋﻼﻥﻓﻲ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ ﻻ ﻳﻤﻨﺤﻚ ﺃﻱ ﺧﻴﺎﺭ ﺳﻮﺍء ﻛﻨﺖ ﺗﺮﺍﻩ ﺃﻡ ﻻ‬

‫ﻣﻠﻜﻚ‪،‬ﻣﻠﻜﻚ‪ ،‬ﻣﻠﻜﻚ ﺃﻥ ﺗﺄﺧﺬﻩ‪ ،‬ﻭﺃﻥ ﺗﻌﻴﺪ ﺗﺮﺗﻴﺒﻪ‪ ،‬ﻭﺇﻋﺎﺩﺓ ﺍﺳﺘﺨﺪﺍﻣﻪ‪ .‬ﻳﺴﺄﻝ ﻋﻦ‬

‫ﺍﻹﺫﻥﻳﺸﺒﻪ ﺃﻥ ﺗﻄﻠﺐ ﺍﻻﺣﺘﻔﺎﻅ ﺑﺤﺠﺮ ﺃﻟﻘﺎﻩ ﺷﺨﺺ ﻣﺎ ﻋﻠﻰ ﺭﺃﺳﻚ ﻟﻠﺘﻮ‪(8) .‬‬

‫ﻳﻘﺪﻡﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﻛﻞ ﻣﻦ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ ﻭﺍﻟﺨﺎﺻﺔ "ﺑﻴﺎﻧﺎً ﻗﻮﻳﺎً ﺿﺪ ﺍﻷﻓﻜﺎﺭ ﺍﻟﻐﺮﺑﻴﺔ"‪.‬‬

‫ﺍﻟﺮﺃﺳﻤﺎﻟﻴﺔﻭﺍﻟﻤﻠﻜﻴﺔ ﺍﻟﺨﺎﺻﺔ” )ﺳﺘﺎﻭﺭﺯ(‪ .‬ﻳﻈﻬﺮ ﺑﺎﻧﻜﺴﻲ ﻣﻮﺍﻓﻘﺘﻪ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺮﺃﻱ ﻋﻨﺪﻣﺎ‬

‫ﻳﻨﺺﻋﻠﻰ ﺃﻧﻪ "ﻳﺤﺐ ]ﺩ[ ﺃﻥ ﻳﻌﺘﻘﺪ ]ﺃﻧﻪ[ ﻳﻤﺘﻠﻚ ﺍﻟﺸﺠﺎﻋﺔ ﻟﻠﻮﻗﻮﻑ ﺩﻭﻥ ﺍﻟﻜﺸﻒ ﻋﻦ ﻫﻮﻳﺘﻪ ﻓﻲ ﺍﻟﻐﺮﺏ‬

‫ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴﺔﻭﺍﻟﺪﻋﻮﺓ ﺇﻟﻰ ﺃﺷﻴﺎء ﻻ ﻳﺆﻣﻦ ﺑﻬﺎ ﺃﺣﺪ‪ ،‬ﻣﺜﻞ ﺍﻟﺴﻼﻡ ﻭﺍﻟﻌﺪﺍﻟﺔ ﻭﺍﻟﺤﺮﻳﺔ"‪.‬‬

‫)ﺑﺎﻧﻜﺴﻲ ‪.(25‬‬

‫ﻓﻲﺭﺃﻳﻲ‪ ،‬ﻋﺪﻡ ﺍﻟﻜﺸﻒ ﻋﻦ ﻫﻮﻳﺘﻪ ﻳﺴﻤﺢ ﺃﻳﻀﺎً ﻟﻠﻔﻨﺎﻧﻴﻦ ﺑﺎﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺗﻌﻠﻴﻘﺎﺗﻬﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭ‬

‫ﺍﻻﻧﺘﻘﺎﺩﺍﺕﺍﻟﺜﻘﺎﻓﻴﺔ ﻋﻠﻰ ﺍﻟﺴﺎﺣﺔ ﺍﻟﻌﺎﻣﺔ‪ ،‬ﺑﻄﺮﻳﻘﺔ ﺗﺘﺠﺎﻭﺯ ﺳﻠﻄﺔ ﻭﺳﺎﺉﻞ ﺍﻹﻋﻼﻡ ﻓﻲ ﺍﻹﺩﺍﻧﺔ ﻭ‬

‫ﺭﻗﻴﺐ‪.‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﺈﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻳﻌﻤﻞ ﻛﻤﺎ ﻳﻨﺒﻐﻲ ﻟﻠﻔﻦ‪ :‬ﺍﻟﺤﺮﻳﺔ‪ .‬ﻷﻥ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻲ‪ ،‬ﻓﻬﻮ ﻛﺬﻟﻚ‬

‫ﺍﻷﻓﻀﻞﻟﻠﻔﻨﺎﻥ ﺃﻥ ﻳﺤﺎﻓﻆ ﻋﻠﻰ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻟﺴﺮﻳﺔ‪" .‬ﺗﺤﺪﺙ ﺑﻬﺪﻭء"‪ ،‬ﻛﻤﺎ ﻳﻘﻮﻝ ﺑﺎﻧﻜﺴﻲ ﻓﻲ ﻛﺘﺎﺑﻪ‪،‬ﺣﺎﺉﻂ‬

‫ﻭﻗﻄﻌﺔ‪",‬ﻭﻟﻜﻦ ﺍﺣﻤﻞ ﻋﻠﺒﺔ ﺩﻫﺎﻥ ﻛﺒﻴﺮﺓ« )‪ .(٨‬ﻣﻔﺘﻮﺣﺔ ﺗﻤﺎﻣﺎ ﻭﻓﻲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﺠﻤﻬﻮﺭ‪ ،‬ﻝ‬

‫ﻓﻴﺮﻳﻞ‪،‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪:‬‬

‫ﻳﻜﺴﺮﺍﻟﺴﻴﻄﺮﺓ ﺍﻟﻤﻬﻴﻤﻨﺔ ﻟﻠﺸﺮﻛﺎﺕ ]ﻭ[ ﺍﻟﺤﻜﻮﻣﻴﺔ ﻋﻠﻰ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺤﻀﺮﻳﺔ‬

‫ﺍﻟﺒﻴﺉﺔﻭﺣﺎﻻﺕ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ‪ .‬ﻛﺸﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﺘﺨﺮﻳﺐ ﺍﻟﺠﻤﺎﻟﻲ‪ ،‬ﻓﺈﻧﻪ‬

‫ﻳﻘﺎﻃﻊﺍﻟﺘﻮﺣﻴﺪ ﺍﻟﻠﻄﻴﻒ ﻭﺍﻟﻔﻌﺎﻝ ﻟﻠﻤﺴﺎﺣﺔ ﺍﻟﺤﻀﺮﻳﺔ "ﺍﻟﻤﺨﻄﻄﺔ" ﻭ‬

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 ‫ﺍﻟﺤﻴﺎﺓﺍﻟﺤﻀﺮﻳﺔ ﻳﻤﻜﻦ ﺍﻟﺘﻨﺒﺆ ﺑﻬﺎ‪ .‬ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻜﺘﺎﺏ‪ ،‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺗﻌﻄﻞ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻟﺤﻴﺎﺗﻴﺔ‬

‫ﺍﻟﺜﻘﺎﻓﺔﺍﻟﺠﻤﺎﻫﻴﺮﻳﺔ ﻭﺳﻠﺒﻴﺔ ﺍﻻﺳﺘﻬﻼﻙ ﺍﻟﻮﺳﻴﻂ‪(176) .‬‬

‫ﺑﻴﻨﻤﺎﻳﺠﺎﺩﻝ ﺍﻟﺒﻌﺾ ﺑﺄﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻟﻴﺲ ﺷﻴﺉﺎً ﻳﻄﻠﺒﻪ ﺍﻟﺠﻤﻬﻮﺭ‪ ،‬ﻓﺈﻥ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﻳﻌﺎﺭﺿﻮﻥ ﺫﻟﻚ‬

‫ﺃﻥ"ﺍﻟﻤﺒﺎﻧﻲ ﻭﺍﻟﻠﻮﺣﺎﺕ ﺍﻹﻋﻼﻧﻴﺔ ﻭﺇﻋﻼﻧﺎﺕ ﺍﻟﺤﻤﻼﺕ ﻭﺍﻟﻨﺸﺮﺍﺕ ﻳﺘﻢ ﻓﺮﺿﻬﺎ ﺃﻳﻀﺎً ﻋﻠﻰ ﺍﻟﺠﻤﻬﻮﺭ" )‪.(Stowers‬‬

‫ﻳﺰﻋﻢﺍﻟﻔﻨﺎﻧﻮﻥ ﺃﻥ ﺍﻟﻤﻨﺎﻇﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ "ﺍﻟﻤﻐﻄﺎﺓ ﺑﺎﻹﻋﻼﻧﺎﺕ ﻭﺍﻟﻤﺤﻔﺰﺍﺕ ﺍﻟﺘﺠﺎﺭﻳﺔ ﺍﻷﺧﺮﻯ ﺗﻨﺘﻬﻚ ﺍﻟﺮﻭﺡ‬

‫ﺍﻟﻘﺎﻧﻮﻥﻣﻦ ﺧﻼﻝ ﻓﺮﺽ ﺃﻳﺪﻳﻮﻟﻮﺟﻴﺔ ﺍﻟﺴﻮﻕ ﻋﻠﻰ ﺳﻜﺎﻥ ﺍﻟﻤﺪﻥ ")ﻓﻴﺴﻜﻮﻧﺘﻲ ﻭﺁﺧﺮﻭﻥ ‪ (515‬ﻭﻫﻮ ﺃﻣﺮ‬

‫ﻋﻤﻠﻬﻢﺍﻟﺬﻱ ﻳﻠﻔﺖ ﺍﻻﻧﺘﺒﺎﻩ ﺇﻟﻰ ﻫﺬﺍ ﺍﻟﻈﻠﻢ ﺑﺎﻟﺬﺍﺕ‪".‬ﻳﻘﻮﻝ ﺍﻟﻤﻌﻠﻨﻮﻥ‪ ...‬ﺇﻧﻬﻢ ﻳﻀﺤﻜﻮﻥ ﻋﻠﻴﻚ‬

‫ﺑﺎﻧﻜﺴﻲ‪:‬‬

‫ﺇﻧﻬﻢﻳﻨﻈﺮﻭﻥ ﺇﻟﻴﻚ ﻣﻦ ﺍﻟﻤﺒﺎﻧﻲ ﺍﻟﺸﺎﻫﻘﺔ ﻭﻳﺠﻌﻠﻮﻧﻚ ﺗﺸﻌﺮ ﺑﺄﻧﻚ ﺻﻐﻴﺮ‪ .‬ﺇﻧﻬﻢ ﻳﺼﻨﻌﻮﻥ ﻭﻗﺤﺎً‬

‫ﺗﻌﻠﻴﻘﺎﺕﻣﻦ ﺍﻟﺤﺎﻓﻼﺕ ﺗﺸﻴﺮ ﺿﻤﻨﺎً ﺇﻟﻰ ﺃﻧﻚ ﻟﺴﺖ ﻣﺜﻴﺮﺍً ﺑﺪﺭﺟﺔ ﻛﺎﻓﻴﺔ ﻭﺃﻥ ﺍﻟﻤﺘﻌﺔ ﺗﺤﺪﺙ‬

‫ﻣﻜﺎﻥﺁﺧﺮ‪ .‬ﺇﻧﻬﻢ ﻋﻠﻰ ﺷﺎﺷﺔ ﺍﻟﺘﻠﻔﺰﻳﻮﻥ ﻣﻤﺎ ﻳﺠﻌﻞ ﺻﺪﻳﻘﺘﻚ ﺗﺸﻌﺮ ﺑﻌﺪﻡ ﺍﻟﻜﻔﺎءﺓ‪ .‬ﻫﻢ‬

‫ﻟﺪﻳﻬﻢﺇﻣﻜﺎﻧﻴﺔ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻷﻛﺜﺮ ﺗﻄﻮﺭﺍ ًﺍﻟﺘﻲ ﺷﻬﺪﻫﺎ ﺍﻟﻌﺎﻟﻢ ﻋﻠﻰ ﺍﻹﻃﻼﻕ‬

‫ﻳﺘﻨﻤﺮﻭﻥﻋﻠﻴﻚ ﺑﻬﺎ‪...‬ﻭﻟﻜﻦ ﻣﻤﻨﻮﻉ ﻋﻠﻴﻚ ﻟﻤﺴﻬﺎ‪ .‬ﺍﻟﻌﻼﻣﺎﺕ ﺍﻟﺘﺠﺎﺭﻳﺔ‪,‬‬

‫ﺗﻌﻨﻲﺣﻘﻮﻕ ﺍﻟﻤﻠﻜﻴﺔ ﺍﻟﻔﻜﺮﻳﺔ ﻭﻗﺎﻧﻮﻥ ﺣﻘﻮﻕ ﺍﻟﻄﺒﻊ ﻭﺍﻟﻨﺸﺮ ﺃﻥ ﺍﻟﻤﻌﻠﻨﻴﻦ ﻳﻤﻜﻨﻬﻢ ﻗﻮﻝ ﻣﺎ ﻳﺮﻳﺪﻭﻥ‬

‫ﻛﻤﺎﻳﺤﻠﻮ ﻟﻬﻢ ﻓﻲ ﺃﻱ ﻣﻜﺎﻥ ﻣﻊ ﺍﻹﻓﻼﺕ ﺍﻟﺘﺎﻡ ﻣﻦ ﺍﻟﻌﻘﺎﺏ‪(160) .‬‬

‫ﺣﻖﺍﻟﻔﻨﺎﻧﻴﻦ ﻓﻲ ﺍﻻﺳﺘﺮﺩﺍﺩ‬

‫ﻳﺮﻯﺍﻟﻔﻨﺎﻧﻮﻥ ﺃﻥ ﺃﺳﻮﺍﺭ ﺍﻟﻤﺪﻳﻨﺔ ﻫﻲ ﻣﺴﺎﺣﺔ ﻋﺎﻣﺔ ﻳﺤﻖ ﻟﻬﻢ ﺍﺳﺘﻌﺎﺩﺗﻬﺎ ﻭﺇﻋﺎﺩﺓ ﺗﺮﺗﻴﺒﻬﺎ‬

‫ﺇﻋﺎﺩﺓﺍﺳﺘﺨﺪﺍﻡ‪ .‬ﻳﻤﺜﻞ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻣﻘﺎﻭﻣﺔ ﻟﻠﻬﻴﻤﻨﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻩ “ﻧﻘﻄﺔ ﻣﻘﺎﺑﻠﺔ ﻓﻲ ﺍﻟﺸﺎﺭﻉ”‪.‬‬

‫ﺇﻟﻰﺍﻟﺴﻠﻄﺔ ﺍﻟﻤﺘﺰﺍﻳﺪﺓ ﻟﻠﻤﻌﻠﻨﻴﻦ ﻣﻦ ﺍﻟﺸﺮﻛﺎﺕ ﻭﺣﻜﻮﻣﺎﺕ ﺍﻟﻤﺪﻥ ﻋﻠﻰ ﺍﻟﺒﻴﺉﺎﺕ‬

‫ﻣﻦﺍﻟﺤﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ” )ﻓﻴﺮﻳﻞ ‪ .(176‬ﺗﻘﻮﻝ ﻓﻨﺎﻧﺔ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻷﻟﻤﺎﻧﻴﺔ‪" :‬ﻳﺠﺐ ﺍﺳﺘﻌﺎﺩﺓ ﺍﻟﻤﺪﻳﻨﺔ"‪.‬‬

‫ﺩﻭﻧﺎ‪"،‬ﻭﺑﺪﻻ ًﻣﻦ ﺍﻟﻨﻈﺎﻡ ﺍﻟﻤﻌﺘﺎﺩ ﻟﻠﺤﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ‪] ،‬ﻳﺠﺐ ﺃﻥ ﺗﻨﺸﺄ[ ﻓﻮﺿﻰ ﺇﺑﺪﺍﻋﻴﺔ‪ ،‬ﻣﻨﻬﺎ‬

‫ﻳﻤﻜﻦﻟﺤﻘﻴﻘﺔ ﺟﺪﻳﺪﺓ ﺃﻥ ﺗﻈﻬﺮ ]ﻣﻊ[ ﺍﻟﺘﻐﻴﻴﺮ ﺇﻟﻰ ﺷﻲء ﺇﻳﺠﺎﺑﻲ" )ﻏﺎﻧﺰ‪،‬ﻛﺘﺎﺑﺎﺕ ﺍﻟﻨﺴﺎء‪,‬‬

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 ‫‪ .(152‬ﻳﺪﻋﻲ ﺳﺘﻮﺭﺯ ﺃﻥ “ﻓﻦ ﺍﻟﺮﺵ ﻫﻮ ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ ﻣﻔﺘﻮﺡ ﺗﻤﺎﻣﺎً ﻟﻠﺠﻤﻬﻮﺭ‬

‫ﻷﻧﻪﻏﻴﺮ ﻣﻘﻴﺪ ﺑﺤﺪﻭﺩ ﺃﻭ "ﻗﻮﺍﻧﻴﻦ" ﻧﻈﺎﻡ ﺍﻟﻤﻌﺮﺽ ﺃﻭ ﺍﻟﻤﺘﺤﻒ‪] ،‬ﻭ[‬

‫ﺭﺑﻤﺎﻫﺬﻩ ﻫﻲ ﺟﺮﻳﻤﺘﻬﺎ ﺍﻟﻮﺣﻴﺪﺓ‪ ".‬ﺑﺎﻟﻨﺴﺒﺔ ﻟﻲ‪ ،‬ﺗﺠﺴﺪ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻈﻬﺮ ﺍﻟﺴﻠﻄﺔ‬

‫ﻣﻦﺧﻼﻝ ﺍﻟﻌﻤﻞ ﻓﻲ ﻣﻌﺎﺭﺿﺔ ﻣﺒﺎﺷﺮﺓ ﻟﻬﺎ‪ .‬ﺍﻟﻔﻦ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ "ﻳﺮﺑﻂ ﺑﺸﻜﻞ ﻋﻠﻨﻲ ﻣﻠﻜﻴﺔ ﺍﻟﺠﺪﺍﺭ ﺑـ‬

‫ﺍﻟﺴﻴﻄﺮﺓﻋﻠﻰ ﻣﻈﻬﺮﻩ‪ ،‬ﻭﺗﺤﺪﻳﺪ ﺍﻟﺠﻤﺎﻝ ﻭﺍﻟﻘﺒﺢ ﻣﻦ ﺣﻴﺚ ﺍﻟﻘﻮﺓ” )ﻓﻴﺮﻳﻞ ‪ .(180‬ﻫﻮ ‪ -‬ﻫﻲ‬

‫ﻳﺠﻌﻞﺍﻟﻤﺮء ﻳﺘﺴﺎءﻝ ﻋﻦ ﺳﻴﺎﺳﺎﺕ "ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ" ﻭ"ﺍﻟﻔﻦ ﺍﻟﻌﺎﻡ"‪.‬‬

‫ﻓﻲﺭﺃﻳﻲ‪ ،‬ﺗﺒﺪﻭ ﺍﻟﻤﺸﺎﺭﻳﻊ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺘﻲ ﺃﻗﺮﺗﻬﺎ ﺍﻟﺴﻠﻄﺎﺕ ﺃﻗﻞ ﺍﻧﻌﻜﺎﺳﺎً‬

‫ﻣﻦﺍﻹﺭﺍﺩﺓ ﺍﻟﻌﺎﻣﺔ‪ ،‬ﻭﻧﺎﺩﺭﺍ ﻣﺎ ﻳﺄﺧﺬ ﻣﺼﺎﻟﺢ ﺍﻟﻨﺎﺱ‪ ،‬ﺍﻟﺘﻲ ﻣﻦ ﻏﺮﺿﻬﻢ ﺃﻥ ﻳﺨﺪﻣﻮﻫﺎ‪،‬‬

‫ﺩﺍﺧﻞﺍﻟﺤﺴﺎﺏ؛ ﺑﻞ ﻫﻲ ﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ “ﻣﻈﺎﻫﺮ ﺟﻤﺎﻟﻴﺔ ﺳﻠﻄﻮﻳﺔ” )‪" .(185‬ﺍﻟﺠﻤﺎﻟﻴﺔ‬

‫"ﺍﻓﺘﺮﺍﺿﺎﺕ ﺍﻟﺴﻠﻄﺎﺕ"‪ ،‬ﻭﺃﻓﻀﻞ ﻣﺜﺎﻝ ﻋﻠﻰ ﺫﻟﻚ ﻫﻮ ﻣﺮﺍﻛﺰ ﺍﻟﺘﺴﻮﻕ‪ ،‬ﻭﺍﻟﻄﺮﻕ ﺍﻟﺤﻀﺮﻳﺔ‪ ،‬ﻭﺍﻟﻔﻦ‬

‫ﺗﻢﺗﺼﻤﻴﻢ ﺍﻟﻤﻌﺮﻭﺿﺎﺕ ﻟﺘﻌﺰﻳﺰ "ﺍﻻﺳﺘﻬﻼﻙ ﻭﺍﻟﺮﺿﺎ ﻭﺍﻟﺴﻴﻄﺮﺓ" )‪ .(185‬ﺗﻘﺪﻳﻢ‬

‫ﺃﻣﺎﻡﺍﻟﺠﻤﻬﻮﺭ ﺑﻮﺍﺟﻬﺔ ﻟﻄﻴﻔﺔ‪ ،‬ﻓﺈﻥ ﻭﺟﻪ ﺍﻟﺴﻠﻄﺔ ﻳﻜﻮﻥ ﺑﻤﺜﺎﺑﺔ "ﺟﺎﻧﺐ ﺁﺧﺮ ﻣﺮﻳﺢ"‪.‬‬

‫ﺍﻷﺳﻼﻙﺍﻟﺸﺎﺉﻜﺔ ﻭﺯﻧﺰﺍﻧﺔ ﺍﻟﺴﺠﻦ"‪ ،‬ﻭﻳﺘﻤﻜﻦ ﺃﻳﻀﺎً ﻣﻦ "ﺇﺿﻔﺎء ﻃﺎﺑﻊ ﺃﺳﻄﻮﺭﻱ ﻋﻠﻰ ﺍﻟﻔﻀﺎء "ﺍﻟﻌﺎﻣﺔ" ﻭﺍﻟﻔﻦ ]ﻋﻦ ﻃﺮﻳﻖ[ ﺍﻹﻏﻮﺍء‬

‫ﺍﻟﻤﻮﺍﻃﻨﻴﻦﻓﻲ ﺑﻴﺉﺎﺕ ﺃﻗﻞ ﺧﺼﻮﺻﻴﺔ ﻟﻬﻢ" )‪ .(185‬ﻟﻘﺪ ﺍﻛﺘﺸﻔﺖ ﺃﻥ ﻏﻴﺮ ﻣﺼﺮﺡ ﺑﻬﺎ‬

‫ﻳﻌﺪﺍﻟﻔﻦ ﺑﻤﺜﺎﺑﺔ ﻧﻮﻉ ﻣﻦ ﺍﻟﻔﻦ ﺍﻟﻌﺎﻡ ﺍﻟﺬﻱ ﻳﻘﻊ ﺧﺎﺭﺝ ﻧﻄﺎﻕ ﺍﻟﺴﻴﻄﺮﺓ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺳﻴﻄﺮﺓ ﺍﻟﺸﺮﻛﺎﺕ‪.‬‬

‫ﻭﻣﻦﺧﻼﻝ ﺍﺳﺘﻌﺎﺩﺓ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ‪ ،‬ﻳﺴﺘﻌﻴﺪ ﺍﻟﻔﻨﺎﻧﻮﻥ ﺃﻳﻀﺎً ﺍﻹﺣﺴﺎﺱ ﺍﻟﺠﻤﺎﻟﻲ ﺑﺎﻟﺴﻠﻄﺔ ﻣﻦ ﺍﻟﻤﺪﻳﻨﺔ‬

‫ﺍﻟﻤﺨﻄﻄﻮﻥﻭﻣﻄﻮﺭﻭ ﺍﻟﺸﺮﻛﺎﺕ )‪ .(185‬ﺍﻟﻤﻌﺮﻛﺔ ﺍﻟﺘﻲ ﺗﻠﺖ ﺫﻟﻚ ﻋﻠﻰ ﺍﻟﺸﻮﺍﺭﻉ‪ ،‬ﻭﻓﻲ ﺟﻮﻫﺮﻫﺎ‪ ،‬ﻋﻠﻰ‬

‫ﺇﻥﺍﻟﻤﻌﺮﻛﺔ ﻣﻦ ﺃﺟﻞ ﺍﻟﺴﻴﻄﺮﺓ ﺍﻟﺠﻤﺎﻟﻴﺔ ﻫﻲ ﻓﻲ ﺍﻷﺳﺎﺱ ﻣﺠﺮﺩ ﻣﻌﺮﻛﺔ ﻣﻦ ﺃﺟﻞ "ﺍﻟﻤﻠﻜﻴﺔ ﻭﺍﻟﻔﻀﺎء‪ ،‬ﻭﻛﺬﻟﻚ ﺍﻟﻤﻌﻨﻰ"‪.‬‬

‫ﺍﻟﻤﻈﻬﺮﻭﺍﻹﺩﺭﺍﻙ‪ .‬ﺇﻧﻬﺎ ﻣﻌﺮﻛﺔ ﻋﻠﻰ »ﺍﻷﺳﻠﻮﺏ« )‪.(١٨٦‬‬

‫ﻟﻘﺪﻭﺟﺪﺕ ﺃﻥ ﺣﺮﻳﺔ ﺇﻋﺎﺩﺓ ﺗﺼﻤﻴﻢ ﺑﻴﺉﺔ ﺍﻟﻔﺮﺩ ﻭﺟﻌﻠﻬﺎ ﻣﻠﻜﺎً ﻟﻪ ﻫﻲ ﺍﻟﺤﺮﻳﺔ ﺍﻟﻮﺣﻴﺪﺓ‬

‫ﻓﻲﻗﻠﺐ ﺣﺮﻛﺎﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ .‬ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ ﻫﻮ ﻋﻨﺼﺮ ﺿﺮﻭﺭﻱ ﻝ‬

‫ﻫﺬﺍﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ "ﺍﻟﻔﻮﺿﻮﻱ"‪ ،‬ﺍﻟﻤﻔﺘﻮﺡ ﻟﻠﺠﻤﻴﻊ ﻟﻠﺘﻌﺒﻴﺮ ﺍﻹﺑﺪﺍﻋﻲ ﺃﻭ ﺍﻻﺳﺘﻤﺘﺎﻉ ﺍﻟﺨﺎﻟﺺ‪ .‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﻭﻓﻦﺍﻟﺸﺎﺭﻉ ﻫﻮ ﺍﻧﻌﻜﺎﺱ ﻟﻠﻌﺎﻟﻢ‪ ،‬ﻭﻳﻌﻤﻞ ﺑﻤﺜﺎﺑﺔ “ﺻﻮﺕ ﻏﻴﺮ ﺍﻟﻤﻨﺘﺨﺒﻴﻦ‪ ،‬ﺍﻟﺬﻳﻦ ﻳﻘﺎﻭﻣﻮﻥ‬

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 ‫ﺿﺪﺍﻷﻧﻈﻤﺔ ﺍﻟﻤﻔﺮﻭﺿﺔ ﻋﻠﻴﻬﻢ" )‪ .(Lewisohn 87‬ﻳﻘﺪﻡ ﺍﻟﻔﻨﺎﻧﻮﻥ "ﻧﻘﺪﺍً ﺣﺮﻓﻴﺎً ﻟـ‬

‫ﺍﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕﺍﻟﺤﺪﺍﺛﻴﺔ‪ ،‬ﻭﻫﻲ ﻧﺰﻋﺔ ﻣﻨﺎﻫﻀﺔ ﻟﻠﺤﺪﺍﺛﺔ ﺗﺮﻣﺰ ﺇﻟﻰ ﻓﺸﻞ ﺍﻟﺤﺪﺍﺛﺔ‪،‬‬

‫ﺃﻧﺸﺄﻫﺎﺃﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ ﺗﺄﺛﺮﻭﺍ ﺑﻬﺎ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ" )‪" .(87‬ﺍﻟﻌﻼﻣﺎﺕ ﻭﺍﻟﺼﻮﺭ ﻟﻠﻌﺎﻣﻠﻴﻦ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ‬

‫ﺭﺩﻓﻌﻠﻬﻢ ﻋﻠﻰ ﻣﺤﻴﻄﻬﻢ ﺍﻟﻤﻌﻤﺎﺭﻱ‪ "،‬ﻳﺮﻣﺰ ﺇﻟﻰ ﻛﻔﺎﺣﻬﻢ "ﻣﻦ ﺃﺟﻞ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻟﻔﺮﺩﻳﺔ‬

‫ﻭﺍﻷﺭﺽﻓﻲ ﻣﻮﺍﺟﻬﺔ ﻣﺪﻳﻨﺔ ﺩﺍﺉﻤﺔ ﺍﻟﺘﻮﺳﻊ ")‪ .(87‬ﻧﺠﺎﺡ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻗﺪ‬

‫ﺃﺛﺎﺭﻭﻋﻴﺎً ﺣﺎﺩﺍً ﺑﺎﻟﺬﺍﺕ ﻭﺍﻟﻤﺪﻳﻨﺔ ﻭﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﻤﺤﻴﻄﺔ ﺑﻬﺎ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﺯﺩﻫﺎﺭ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬

‫ﺫﻛﺎء‪.‬‬

‫ﻣﺘﻰﺗﺼﺒﺢ ﻓﻨﻮﻥ ﺍﻟﺸﻮﺍﺭﻉ ﻭﺍﻟﻜﺘﺎﺑﺎﺕ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺃﻋﻤﺎﻝ ﺗﺨﺮﻳﺒﻴﺔ؟‬

‫ﻋﻠﻰﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺃﺻﺒﺢ ﻣﻘﺒﻮﻻ ًﻋﻠﻰ ﻧﻄﺎﻕ ﻭﺍﺳﻊ ﻭﺃﺻﺒﺢ ﺳﺎﺉﺪﺍً ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﺨﺪﺍﻣﻪ‬

‫ﻓﻲﺍﻟﻌﺎﻟﻢ ﺍﻟﺘﺠﺎﺭﻱ‪ ،‬ﻻ ﻳﺰﺍﻝ ﻫﻨﺎﻙ ﺧﻂ ﺭﻓﻴﻊ ﻭﻣﺒﻬﻢ ﺑﻴﻦ ﻣﺎ ﻳﻌﺘﺒﺮ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﻭﺍﻟﺘﺨﺮﻳﺐ‪.‬ﺇﺫﻥ ﻣﺘﻰ ﻳﺼﺒﺢ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻋﻤﻼ ًﺗﺨﺮﻳﺒﻴﺎً؟ ﻟﻤﻌﺎﻟﺠﺔ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ‪ ،‬ﻓﺈﻧﻪ‬

‫ﻣﻦﺍﻟﻤﻬﻢ ﺃﻭﻻ ًﺗﻌﺮﻳﻒ ﺍﻟﺘﺨﺮﻳﺐ ﻋﻠﻰ ﺃﻧﻪ ﺃﻱ ﻋﻤﻞ ﻳﻨﻄﻮﻱ ﻋﻠﻰ ﺿﺮﺭ ﺃﻭ ﺗﺪﻣﻴﺮ ﻣﺘﻌﻤﺪ‬

‫ﺍﻟﻤﻠﻜﻴﺔﺍﻟﻌﺎﻣﺔ ﺃﻭ ﺍﻟﺨﺎﺻﺔ‪ .‬ﻭﻫﺬﺍ ﻳﻌﻨﻲ ﺃﻥ ﺃﻱ ﻭﺟﻤﻴﻊ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ ﺗﺤﺪﺙ‬

‫ﻓﻲﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ ﺗﻌﺘﺒﺮ‪ ،‬ﺑﺤﻜﻢ ﺗﻌﺮﻳﻔﻬﺎ‪ ،‬ﺃﻋﻤﺎﻝ ﺗﺨﺮﻳﺐ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻴﺔ‪.‬‬

‫ﻷﻥﺗﻌﺮﻳﻒ ﺍﻟﺘﺨﺮﻳﺐ ﻓﻲ ﺣﺪ ﺫﺍﺗﻪ ﻳﻌﻨﻲ ﺍﻹﺿﺮﺍﺭ ﺑﺎﻟﻤﻤﺘﻠﻜﺎﺕ ﻭﺗﺪﻣﻴﺮﻫﺎ‪،‬‬

‫ﺃﻭﺩﺃﻥ ﺃﺯﻋﻢ ﺃﻧﻪ ﻟﻴﺴﺖ ﻛﻞ ﺃﺷﻜﺎﻝ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺗﻌﺘﺒﺮ ﺗﺨﺮﻳﺒﺎً‪ ،‬ﻭﻟﻜﻦ ﻓﻘﻂ ﺗﻠﻚ ﺍﻟﺘﻲ ﺗﻔﺘﻘﺮ ﺇﻟﻰ ﺍﻟﻨﻴﺔ ﻟﻠﻘﻴﺎﻡ ﺑﺬﻟﻚ‬

‫ﺍﻟﻮﻗﻮﻑﻛﺸﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﻴﺮ ﺫﺍﺕ ﻣﻌﻨﻰ‪ .‬ﻳﺘﻢ ﺗﻨﻔﻴﺬ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺘﻲ ﺗﺤﺪﺙ ﻓﻲ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ ﺑﻬﺬﻩ ﺍﻟﻄﺮﻳﻘﺔ‬

‫ﺑﻬﺪﻑﺗﺤﺴﻴﻦ ﺍﻟﺒﻴﺉﺔ ﺍﻟﻤﺤﻴﻄﺔ ﺑﻬﻢ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺠﻤﺎﻟﻴﺔ ﻭﺗﻘﺪﻳﻢ ﺭﺳﺎﻟﺔ ﺇﻟﻰ ﺍﻟﻤﺠﺘﻤﻊ‬

‫ﺍﻟﻤﺎﺭﺓ‪.‬ﻓﻲ ﺣﻴﻦ ﺃﻧﻪ ﻟﻴﺲ ﻫﻨﺎﻙ ﻣﻦ ﻳﻨﻜﺮ ﺃﻥ ﺟﻤﻴﻊ ﺍﻷﻋﻤﺎﻝ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻬﺎ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻴﺔ‪ ،‬ﺇﻻ ﺃﻧﻬﺎ ﻟﻴﺴﺖ ﻛﺬﻟﻚ‬

‫ﺑﺎﻟﻀﺮﻭﺭﺓﺟﻤﻴﻊ ﺣﺎﻻﺕ ﺍﻟﺘﺨﺮﻳﺐ‪.‬‬

‫ﻭﻣﻦﺃﺟﻞ ﻫﺬﻩ ﺍﻟﺤﺠﺔ‪ ،‬ﻓﻤﻦ ﺍﻷﻫﻤﻴﺔ ﺑﻤﻜﺎﻥ ﺇﻋﺎﺩﺓ ﺍﻟﻨﻈﺮ ﻓﻲ ﺍﻻﺧﺘﻼﻓﺎﺕ ﺑﻴﻦ‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺗﻨﺎﻭﻟﻬﺎ ﻓﻲ ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‪ .‬ﺗﺘﻜﻮﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺩﺍﺉﻤﺎً ﺗﻘﺮﻳﺒﺎً ﻣﻦ‬

‫ﻳﺘﻢ"ﻭﺿﻊ ﺍﻟﻌﻼﻣﺎﺕ" ﻭﺍﻟﺤﺮﻭﻑ ﻓﻘﻂ ﺑﺎﺳﺘﺨﺪﺍﻡ ﺭﺫﺍﺫ ﺍﻟﻄﻼء‪ .‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ – ﻛﻤﺎ ﺗﻄﻮﺭﺕ ﻣﻨﻪ‬

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 ‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ‪ -‬ﺗﺴﺘﺨﺪﻡ ﺍﻟﻤﻠﺼﻘﺎﺕ‪ ،‬ﻭﺍﻟﻤﻠﺼﻘﺎﺕ‪ ،‬ﻭﺍﻟﻄﻼء‪ ،‬ﻭﺍﻟﻄﺒﺎﺷﻴﺮ‪ ،‬ﻭﺣﺘﻰ ﺍﻟﺨﻴﻮﻁ ﻭﺍﻟﺼﻮﺭ ﺍﻟﻤﻤﻴﺰﺓ‪،‬‬

‫ﺍﻷﺷﻜﺎﻝﻭﺍﻷﻟﻮﺍﻥ ﻭﺍﻷﻫﻢ ﻣﻦ ﺫﻟﻚ ‪ -‬ﺍﻟﺮﺳﺎﻟﺔ‪ .‬ﺑﻴﻨﻤﺎ ﻳﺸﺎﺭﻙ ﻛﻞ ﻣﻦ ﻓﻨﺎﻧﻲ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻭﺍﻟﺸﻮﺍﺭﻉ‬

‫ﺍﻟﻤﻌﺮﻛﺔﻋﻠﻰ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ ﺿﺪ ﺃﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ ﻳﺴﻴﻄﺮﻭﻥ ﻋﻠﻴﻪ ﻭﻣﺎ ﻳﺴﺘﺨﺪﻡ ﻣﻦ ﺃﺟﻠﻪ‪ ،‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﻳﻔﺼﻞﻧﻔﺴﻪ ﻋﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻷﻧﻪ ﺃﻗﺮﺏ ﺇﻟﻰ ﺍﻟﺤﻮﺍﺭ ﻣﻊ ﺍﻟﻤﺪﻳﻨﺔ‪ .‬ﺑﺪﻻ ﻣﻦ‬

‫ﺍﻟﻌﻘﻠﻴﺔﺍﻟﻔﻮﺿﻮﻳﺔ ﺍﻟﺘﻲ ﺗﺪﻣﺮ ﺍﻟﻤﻤﺘﻠﻜﺎﺕ ﻛﻮﺳﻴﻠﺔ "ﻟﻤﺤﺎﺭﺑﺔ ﺍﻟﻨﻈﺎﻡ" ﻳﺴﺘﺨﺪﻣﻬﺎ ﻓﻨﺎﻧﻮ ﺍﻟﺸﻮﺍﺭﻉ‬

‫ﺍﻟﻌﻤﻞﻋﻠﻰ ﺇﻳﺼﺎﻝ ﺭﺳﺎﻟﺔ ﻣﻌﻴﻨﺔ ﺇﻟﻰ ﺟﻤﻬﻮﺭﻫﻢ‪.‬‬

‫ﻟﻴﺲﻓﻲ ﻧﻴﺘﻲ ﻓﻲ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﻣﻨﺎﻗﺸﺔ ﻣﺎ ﻫﻮ ﺫﻭ ﻗﻴﻤﺔ ﻓﻨﻴﺔ ﻭﻣﺎ ﻟﻴﺲ ﻟﻪ ﻗﻴﻤﺔ ﻓﻨﻴﺔ‪،‬‬

‫ﻭﻟﻜﻦﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ ﺍﺳﺘﻜﺸﺎﻑ ﺣﺮﻛﺎﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﻮﺍﺭﻉ ﻛﻈﺎﻫﺮﺓ ﺍﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻫﺬﺍ‬

‫ﺇﻧﻪﻣﻨﺤﺪﺭ ﺯﻟﻖ‪ ،‬ﻷﻧﻪ ﻓﻲ ﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ ﺗﻜﻮﻥ ﺍﻟﻤﻴﺰﺓ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻤﺨﺼﺼﺔ ﻟﻸﻋﻤﺎﻝ ﺍﻟﻔﻨﻴﺔ ﻫﻲ ﺍﻟﺘﻲ‬

‫ﺗﺤﺪﺙﻓﻲ ﺍﻟﺸﺎﺭﻉ ﻣﻤﺎ ﻳﻤﻴﺰﻫﺎ ﻋﻦ ﺍﻟﺘﺨﺮﻳﺐ‪ .‬ﻛﻤﺎ ﻫﻮ ﺍﻟﺤﺎﻝ ﻣﻊ ﺃﻱ ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ‪ ،‬ﻛﻞ ﺷﻲء ﺫﺍﺗﻲ‪.‬‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺣﺪ ﺫﺍﺗﻬﺎ ﻫﻲ ﻟﻌﻨﺔ ﺍﻟﻤﻨﺎﻇﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﻓﻲ ﺍﻟﻤﺪﻳﻨﺔ‪ .‬ﻭﻳﺮﻯ ﻛﺜﻴﺮﻭﻥ ﺃﻥ ﺣﻲ ﻣﺰﻳﻦ‬

‫ﺗﻨﻘﻞﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺭﺳﺎﻟﺔ ﺇﻟﻰ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺨﺎﺭﺟﻲ ﻣﻔﺎﺩﻫﺎ ﺃﻥ ﻛﻞ ﺍﻟﺴﻴﻄﺮﺓ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻗﺪ ﻓﻘﺪﺕ‪ ،‬ﻭ‬

‫ﺍﻹﺟﺮﺍﻡﻳﺘﻔﺸﻰ‪ .‬ﻭﻣﻦ ﺍﻷﻣﺜﻠﺔ ﺍﻟﻮﺍﺿﺤﺔ ﻋﻠﻰ ﺫﻟﻚ ﻣﻌﺮﻛﺔ ﻧﻈﺎﻡ ﺍﻟﻨﻘﻞ ﻓﻲ ﻧﻴﻮﻳﻮﺭﻙ‬

‫ﻣﻊﻭﺑﺎء ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﺴﺘﻴﻨﻴﺎﺕ‪ .‬ﻣﻦ ﺍﻟﺴﻬﻞ ﺍﻟﺘﻌﺎﻃﻒ ﻣﻊ ﻭﺟﻬﺔ ﺍﻟﻨﻈﺮ ﻫﺬﻩ ﻭﺇﺛﺒﺎﺗﻬﺎ ﺃﻳﻀﺎً‬

‫ﺃﻫﻤﻴﺔﺍﻟﺘﻤﻴﻴﺰ ﺑﻴﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ "ﻭﺿﻊ ﻋﻼﻣﺎﺕ" ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ .‬ﻻ ﻳﻤﻜﻦ ﺗﻤﻴﻴﺰﻩ‪،‬‬

‫ﻫﻨﺎﻙﻧﺼﻮﺹ ﻏﺎﻣﻀﺔ ﻣﻜﺘﻮﺑﺔ ﻋﻠﻰ ﺃﺳﻮﺍﺭ ﺍﻟﻤﺪﻳﻨﺔ‪ ،‬ﻭﻗﻄﺎﺭﺍﺕ ﺍﻷﻧﻔﺎﻕ‪ ،‬ﻭﺍﻟﻤﺒﺎﻧﻲ ﺍﻟﺸﺎﻫﻘﺔ‪ ،‬ﻭﻣﻜﺒﺎﺕ ﺍﻟﻨﻔﺎﻳﺎﺕ‪.‬‬

‫ﻓﻲﺍﻟﻮﺍﻗﻊ ﻛﻼﻫﻤﺎ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻲ ﻭﺍﻟﺘﺨﺮﻳﺐ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻫﺬﺍ ﻻ ﻳﻌﻨﻲ ﺃﻥ ﻓﻌﻞ ﻣﺜﻞ ﻫﺬﻩ ﺍﻷﻋﻤﺎﻝ ﻓﻲ ﺣﺪ ﺫﺍﺗﻪ ﻳﻔﻌﻞ ﺫﻟﻚ‬

‫ﻻﻳﻨﻘﻞ ﻣﻌﻨﻰ ﺃﻋﻤﻖ ﻟﻼﺣﺘﺠﺎﺝ‪ ،‬ﻛﻤﺎ ﺭﺃﻳﻨﺎ ﻓﻲ ﻧﺺ ﺍﻟﺒﻴﻜﺴﺎﻭ ﺍﻟﺬﻱ ﻳﻐﻠﻒ ﺍﻟﺼﻮﺭﺓ‬

‫ﺃﺳﻮﺍﺭﺍﻟﻤﺪﻥ ﺍﻟﻜﺒﺮﻯ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ‪.‬‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻛﻮﺳﻴﻠﺔ ﻟﻠﺘﻌﺒﻴﺮ ﺍﻟﻔﻨﻲ ﻷﻃﻔﺎﻝ ﺍﻟﻤﺪﻥ ﺍﻟﺪﺍﺧﻠﻴﺔ ﺍﻟﺬﻳﻦ ﻟﻴﺲ ﻟﺪﻳﻬﻢ ﺃﻃﻔﺎﻝ‬

‫ﻻﻳﻮﺟﺪ ﻣﻨﻔﺬ ﺁﺧﺮ ﺃﻳﻀﺎً ﺣﺠﺔ ﺿﺪ ﺗﺼﻨﻴﻒ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻔﻦ ﻋﻠﻰ ﺃﻧﻪ ﺗﺨﺮﻳﺐ‪ ،‬ﻣﺜﻞ ﺍﻟﻮﺭﻕ ﻭ‬

‫ﻣﻦﺍﻟﺴﻬﻞ ﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﺃﻗﻼﻡ ﺍﻟﺮﺻﺎﺹ ﻭﺍﻟﻠﻮﺍﺯﻡ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺮﺧﻴﺼﺔ ﻧﺴﺒﻴﺎً‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﻬﻮ ﺍﻟﻔﻌﻞ‬

‫ﺍﺳﺘﻌﺎﺩﺓﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ ﻹﻳﺼﺎﻝ ﺭﺳﺎﻟﺔ ﻏﻴﺮ ﺧﺎﺿﻌﺔ ﻟﻠﺮﻗﺎﺑﺔ ﺗﻤﻨﺢ ﺍﻟﻔﻦ ﺷﻜﻠﻪ ﺍﻟﺨﺎﺹ‬

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 ‫ﺳﻠﻄﺔ‪.‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﻔﻨﻲ ﺍﻟﺤﻘﻴﻘﻲ ﻣﻮﺟﻮﺩﺍً‪ ،‬ﻓﻠﻤﺎﺫﺍ ﻻ ﻳﺮﻏﺐ ﺍﻟﻔﻨﺎﻥ ﻓﻲ ﻣﺸﺎﺭﻛﺔ ﺫﻟﻚ ﻣﻌﻪ‬

‫ﺟﻤﻬﻮﺭ؟ﻭﺍﻷﻫﻢ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻟﻤﺎﺫﺍ ﻳﻌﺎﺭﺿﻪ ﺍﻟﺠﻤﻬﻮﺭ؟ ﻓﻲ ﻫﺬﻩ ﺍﻟﺤﺎﻟﺔ‪،‬‬

‫ﻓﺎﻟﻤﺴﺄﻟﺔﻟﻴﺴﺖ ﺍﻟﺠﺪﺍﺭﺓ ﺍﻟﻔﻨﻴﺔ ﺃﻭ ﺣﺘﻰ ﺍﻟﺘﻌﺒﻴﺮ‪ ،‬ﺑﻞ ﻫﻲ ﻣﺴﺄﻟﺔ ﻋﺪﻡ ﺍﻟﺸﺮﻋﻴﺔ‪ .‬ﻳﻨﺒﻐﻲ ﻟﻠﻔﻦ‬

‫ﻫﻞﻳﻔﻘﺪ ﺍﻟﺸﻜﻞ ﻣﺼﺪﺍﻗﻴﺘﻪ ﻟﻤﺠﺮﺩ ﺃﻥ ﺍﻟﻔﻨﺎﻥ ﺍﻋﺘﻤﺪ ﻋﻠﻰ ﻃﺮﻳﻘﺔ ﻏﻴﺮ ﺗﻘﻠﻴﺪﻳﺔ ﻹﻳﺼﺎﻝ ﺍﻟﺮﺳﺎﻟﺔ؟‬

‫ﻏﺎﻟﺒﺎًﻣﺎ ﻳﻘُﺎﻝ ﺇﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﻮﺍﺭﻉ ﻟﻴﺴﺎ ﻣﻦ ﺍﻷﺷﻜﺎﻝ ﺍﻟﻔﻨﻴﺔ ﺍﻹﻳﺠﺎﺑﻴﺔ‪ .‬ﻟﻮ ﻛﺎﻧﻮﺍ ﻛﺬﻟﻚ‪ ،‬ﺍﻟﻔﻦ‬

‫ﻟﻦﺗﻜﻮﻥ ﺍﻟﻨﻤﺎﺫﺝ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻴﺔ ﺃﻭ ﺗﻌﺘﺒﺮ ﺗﺨﺮﻳﺒﺎً‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﺈﻥ ﻗﺪﺭﺓ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻋﻠﻰ‬

‫ﺍﻟﻤﺴﺎﻫﻤﺔﻓﻲ ﺍﻟﺼﺎﻟﺢ ﺍﻟﻌﺎﻡ ﺃﻣﺮ ﻣﻌﺘﺮﻑ ﺑﻪ ﻣﻦ ﻗﺒﻞ ﺍﻟﺤﻜﻮﻣﺔ ﻭﺍﻷﺳﻮﺍﻕ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻛﻞ‬

‫ﺍﻟﻮﻗﺖﺍﻟﺬﻱ ﻳﺘﻢ ﻓﻴﻪ ﺗﻜﻠﻴﻒ ﻟﻮﺣﺔ ﺟﺪﺍﺭﻳﺔ ﻓﻨﻴﺔ ﻋﺎﻣﺔ ﺃﻭ ﺍﺳﺘﺨﺪﺍﻡ ﻧﺺ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻟﻺﻋﻼﻥ ﻋﻦ ﺃﻋﻤﺎﻝ ﺍﻟﺸﺮﻛﺔ‬

‫ﺃﺣﺪﺙﻣﻨﺘﺞ‪ .‬ﺃﻋﺘﻘﺪ ﺃﻥ ﺃﻛﺒﺮ ﻣﺸﻜﻠﺔ ﺗﺤﻴﻂ ﺑﺤﺮﻛﺎﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﻮﺍﺭﻉ ﻫﻲ‬

‫ﺍﻟﻨﻀﺎﻝﻣﻦ ﺃﺟﻞ ﺍﻟﺴﻴﻄﺮﺓ ﺍﻟﺠﻤﺎﻟﻴﺔ‪ .‬ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﺒﺼﺮﻱ ﻟﺪﻳﻪ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺇﺛﺎﺭﺓ ﺍﻟﻔﻜﺮ ﻭ‬

‫ﺍﻟﺘﺤﺮﻳﺾﻋﻠﻰ ﺍﻟﻌﻤﻞ‪ .‬ﻳﻮﺟﺪ ﺗﻌﺒﻴﺮ ﺇﺑﺪﺍﻋﻲ ﺧﺎﻟﺺ ﻳﻤﻜﻦ ﺃﻥ ﻳﺤﺪﺙ ﻓﻲ ﺃﻱ ﻭﻗﺖ ﻭﻓﻲ ﺃﻱ ﻣﻜﺎﻥ‬

‫ﺍﻟﻤﻌﺎﺭﺿﺔﺍﻟﻤﺒﺎﺷﺮﺓ ﻷﺻﺤﺎﺏ ﺍﻟﺴﻠﻄﺔ‪ ،‬ﺧﺎﺻﺔ ﺇﺫﺍ ﻛﺎﻧﺖ ﺭﺳﺎﻟﺘﻬﺎ ﻫﻲ ﺍﻟﺘﻲ ﺗﺘﺤﺪﺙ ﺿﺪﻫﺎ‬

‫ﺃﻭﻳﻨﺘﻘﺪ ﻫﺬﻩ ﺍﻟﺴﻠﻄﺔ‪.‬‬

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 ‫ﺍﻟﻔﺼﻞ‪6‬‬

‫ﺍﻟﺠﺮﻳﻤﺔﻭﺍﻟﻔﻦ‪ .‬ﺍﻟﺘﺨﺮﻳﺐ ﻭﺧﺪﻣﺔ ﺍﻟﻤﺠﺘﻤﻊ‬

‫‪21‬ﺷﺎﺭﻉ‬ ‫ﻳﻜﺘﺴﺐﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻜﺎﻧﺔ ﺑﺎﺭﺯﺓ ﻛﻤﻨﺼﺔ ﺗﻌﻄﻲ ﺻﻮﺗﺎً ﻟﻠﻨﺎﺱ ﻓﻲ ﻋﺎﻟﻢ‬

‫ﻛﺎﻥﻣﺠﺘﻤﻊ ﺍﻟﻘﺮﻥ ﻏﺎﺭﻗﺎً ﻓﻲ ﺍﻟﻤﺨﺎﻭﻑ ﺑﺸﺄﻥ ﺍﻟﻔﺮﺩﻳﺔ ﻭﺍﻟﺮﻗﺎﺑﺔ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﻄﺒﻘﺔ‬

‫ﺍﻟﻨﻀﺎﻻﺕ‪،‬ﻭﺍﻟﺤﺎﻟﺔ ﺍﻟﺮﺍﻫﻨﺔ ﻟﻼﻗﺘﺼﺎﺩ‪ ،‬ﻭﺍﻟﻨﺨﺒﻮﻳﺔ‪ ،‬ﻭﺍﻟﺘﺤﺮﺭ ﻣﻦ ﺍﻟﺮﺃﺳﻤﺎﻟﻴﺔ‪ .‬ﺍﻟﺸﺎﺭﻉ ﻳﺘﺼﺮﻑ‬

‫ﺑﺎﻋﺘﺒﺎﺭﻫﺎ"ﻣﻌﺮﺿﺎً ﻋﺎﻣﺎً ﻟﻠﻌﻤﻞ ﺍﻹﺑﺪﺍﻋﻲ ﺣﻴﺚ ﻳﻤﻜﻦ ﻟﻠﺠﻤﻴﻊ ﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺃﺻﻮﺍﺗﻬﻢ‪ ،‬ﻟﻜﻦ ﺍﻷﻣﺮ ﻟﻴﺲ ﻛﺬﻟﻚ‬

‫"ﺛﺎﺑﺖ" ‪ ،‬ﺣﻴﺚ ﻳﻤﻜﻦ ﺑﺴﻬﻮﻟﺔ ﻏﺴﻞ ﺍﻻﺳﺘﻨﺴﻞ ﺃﻭ ﺍﻟﻤﻠﺼﻖ ﺃﻭ ﻛﺸﻄﻪ ﻓﻲ ﺍﻟﻴﻮﻡ ﺍﻟﺘﺎﻟﻲ )ﻓﻴﺮﺍﻧﺖ(‪.‬‬

‫ﻟﻘﺪﻛﺎﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺩﺍﺉﻤﺎً ﻭﻻ ﻳﺰﺍﻝ ﻣﺘﻨﻮﻋﺎً ﻋﺮﻗﻴﺎً ﻭﻋﺮﻗﻴﺎً ﻭﺍﻗﺘﺼﺎﺩﻳﺎً‬

‫ﺍﻟﺜﻘﺎﻓﺔ]ﺍﻟﺘﻲ[ ﺗﺰﻋﺞ "ﺟﻤﺎﻟﻴﺎﺕ ﺍﻟﺴﻠﻄﺔ" ﺍﻟﻤﺘﺄﺻﻠﺔ ﻓﻲ ﺟﺪﺍﺭ ﻧﻈﻴﻒ ﻳﻬﺪﻑ ﺇﻟﻰ ﺍﻹﻟﻬﺎﻡ‬

‫ﺍﻟﻨﻈﺎﻡ" )ﺳﻨﺎﻳﺪﺭ ‪ .(30-29‬ﻟﻘﺪ ﻛﺎﻥ ﺑﻨﺎء ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺟﺮﻳﻤﺔ ﻓﻲ ﻣﺪﻳﻨﺔ ﻧﻴﻮﻳﻮﺭﻙ‬

‫ﻣﻜﻨﺖ"ﺍﻟﺤﻤﻼﺕ ﺍﻹﻋﻼﻣﻴﺔ ﻟﻠﺴﻴﺎﺳﻴﻴﻦ ]ﻣﻦ ﺍﻟﻠﻌﺐ[ ﻋﻠﻰ ﺍﻟﻤﺨﺎﻭﻑ ﺍﻟﻌﻨﺼﺮﻳﺔ ﻟﺪﻯ ﺷﺒﺎﺏ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺤﻀﺮﻳﺔ ]ﻣﻦ ﺃﺟﻞ["‪.‬‬

‫ﺑﻨﺎءﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻛﺮﻣﺰ ﻟﻮﻳﻼﺕ ﺍﻟﻤﺪﻳﻨﺔ ")‪ .(30‬ﺷﻦ ﺣﺮﺏ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻭﺑﻌﻀﻪ‬

‫ﺇﻥ"ﺍﻟﻤﺮﺍﻫﻘﻴﻦ ﺍﻷﻛﺜﺮ ﻣﻮﻫﺒﺔ" ﻓﻲ ﺍﻟﻤﺪﻳﻨﺔ ﻳﻌﻨﻲ ﺃﻧﻪ ﻳﻤﻜﻦ ﺗﻨﻈﻴﻒ ﺍﻟﻤﺪﻳﻨﺔ ﺃﺧﻴﺮﺍً‪ .‬ﻣﻦ ﺧﻼﻝ ﻣﺜﻞ ﻫﺬﺍ‬

‫ﺍﻟﺘﻜﺘﻴﻜﺎﺕ‪،‬ﺑﺪﺃﺕ ﺍﻟﺴﻴﺎﺳﺎﺕ ﻓﻲ ﺍﻟﻈﻬﻮﺭ ﻭﺍﻟﺘﻲ ﻣﻦ ﺷﺄﻧﻬﺎ ﺃﻥ "ﺗﺤﺎﺭﺏ ﻣﻔﻬﻮﻡ ﺍﻟﺠﺮﻳﻤﺔ ﺑﺪﻻ ًﻣﻦ ﺍﻟﺠﺮﻳﻤﺔ ﺍﻟﻔﻌﻠﻴﺔ"‬

‫)‪.(30‬‬

‫ﺇﻋﻄﺎءﺍﻟﻨﺎﺱ ﺻﻮﺗﺎ‬

‫ﻋﻠﻰﻣﺮ ﺍﻟﺴﻨﻴﻦ‪ ،‬ﺗﻄﻮﺭ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻭ"ﺍﻧﺘﻘﻞ ﺇﻟﻰ ﻣﺎ ﻫﻮ ﺃﺑﻌﺪ ﻣﻦ ﺍﻟﺘﻘﻄﻴﻊ ﺑﺎﺳﺘﺨﺪﺍﻡ ﻋﻠﺐ ﺍﻟﺮﺵ ﺇﻟﻰ ﺍﻟﻌﻤﻞ ﺍﻟﻔﻨﻲ"‪.‬‬

‫ﺍﻟﻘﻄﻊﺍﻟﻤﻔﺎﻫﻴﻤﻴﺔ ﺍﻟﺘﻲ ﺗﺘﻨﺎﻭﻝ ﺍﻟﻼﻓﺘﺎﺕ ﻭﺍﻟﻨﺰﻋﺔ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻭﺍﻟﺸﻬﺮﺓ ﻭﺍﻟﺠﻤﺎﻟﻴﺎﺕ ﺍﻟﺤﻀﺮﻳﺔ ")‪ .(43‬ﻓﺎﺭﻍ‬

‫ﺑﻐﺾﺍﻟﻨﻈﺮ ﻋﻦ ﺃﻱ ﺿﺒﻂ ﺍﻟﻨﻔﺲ‪ ،‬ﻓﺈﻥ ﺍﻟﻔﻦ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ ﻳﻤﻜﻦّ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻣﻦ ﺍﻟﺘﻮﺍﺻﻞ ﺑﺤﺮﻳﺔ ﻣﻊ ﺟﻤﻬﻮﺭﻫﻢ ﺑﻄﺮﻳﻘﺔ‬

‫ﺍﻟﻄﺮﻳﻘﺔﺍﻟﺘﻲ ﺗﺴﻤﺢ "ﺑﺎﻟﺴﻴﻄﺮﺓ ﻏﻴﺮ ﺍﻟﻤﻘﻴﺪﺓ ﻋﻠﻰ ﺃﻓﻜﺎﺭﻫﻢ" )ﻫﺎﺑﻴﻞ‪ ،‬ﺑﺎﻛﻠﻲ ‪ .(3‬ﻣﻦ ﺧﻼﻝ ﻫﺬﻩ‬

‫ﺗﻘﺪﻡﺍﻟﻨﻘﻮﺵ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﻮﺍﺭﻉ "ﺭﺅﻯ ﻣﺜﻴﺮﺓ ﻟﻼﻫﺘﻤﺎﻡ ﺣﻮﻝ ﺍﻷﺷﺨﺎﺹ ﺍﻟﺬﻳﻦ ﻗﺎﻣﻮﺍ ﺑﺘﺄﻟﻴﻔﻬﺎ ﻭ‬

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‫ﻓﻲﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﺬﻱ ﻳﻨﺘﻤﻲ ﺇﻟﻴﻪ ﻫﺆﻻء ﺍﻷﺷﺨﺎﺹ‪ (3) ،‬ﻣﻦ ﺧﻼﻝ "ﺍﻟﻜﺸﻒ ﻋﻦ ﺍﻟﺠﻮﺍﻧﺐ ﺍﻷﻛﺜﺮ ﻣﺮﺍﻭﻏﺔ ﻣﻨﻪ‬

‫ﺷﺨﺼﻴﺔﺍﻟﻤﺠﺘﻤﻊ" )‪ .(14‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻟﻴﻮﻡ ﻫﻮ "ﺟﺮﻳﻤﺔ ﻭﻓﻦ‪ ،‬ﻭﺗﺨﺮﻳﺐ ﻭﻣﺠﺘﻤﻊ‬

‫ﺍﻟﺨﺪﻣﺔ" )ﺳﻨﺎﻳﺪﺭ‪ .(44 ،‬ﻛﻤﺎ ﺫﻛﺮ ﺇﺭﻧﺴﺖ ﺃﺑﻴﻞ ﻭﺑﺎﺭﺑﺮﺍ ﺑﺎﻛﻠﻲ ﻓﻲ ﻛﺘﺎﺑﻬﻤﺎ‪،‬ﺍﻝ‬

‫ﺍﻟﻜﺘﺎﺑﺔﺍﻟﻴﺪﻭﻳﺔ ﻋﻠﻰ ﺍﻟﺤﺎﺉﻂ‪ :‬ﻧﺤﻮ ﻋﻠﻢ ﺍﺟﺘﻤﺎﻉ ﻭﻋﻠﻢ ﻧﻔﺲ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻓﻨﺎﻥ ﺍﻟﺸﺎﺭﻉ‬

‫"ﺍﻟﺬﻱ ﻳﻀﻲء ﻋﻤﻠﻪ ﻣﻨﻄﻘﺔ ﺑﺎﻫﺘﺔ ﻭﻳﻀﻴﻒ ﻟﻮﻧﺎً ﺇﻟﻰ ﺭﻗﺔ ﺍﻟﺪﺍﺧﻞ ﺍﻟﻤﻤﻠﺔ ﻟﻠﻌﻘﻞ‬

‫ﻣﺪﻳﻨﺔ‪]،‬ﻭ[ ﺗﺤُﻴﻲ ﺗﺼﻤﻴﻤﺎﺗﻬﺎ ﺍﻟﻐﺎﺑﺎﺕ ﺍﻟﺨﺮﺳﺎﻧﻴﺔ ﺍﻟﻌﻘﻴﻤﺔ‪ ،‬ﻛﻤﺎ ﻳﻌﺘﺒﺮﻫﺎ ﺍﻟﺒﻌﺾ ﻛﺬﻟﻚ‬

‫ﺍﻻﺭﺗﻘﺎءﺑﺒﻴﺉﺘﻪ« )‪ .(١٣٩‬ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺍﻟﻄﺒﻴﻌﺔ ﻏﻴﺮ ﺍﻟﻘﺎﻧﻮﻧﻴﺔ ﻟﻌﻤﻠﻬﻢ‪ ،‬ﻓﺈﻥ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﻫﻢ “ﺃ‬

‫ﺍﻟﻤﺘﺒﺮﻉﺍﻟﻌﺎﻡ" )‪ .(139‬ﺍﻟﻔﻦ ﺍﻟﺬﻱ ﻳﻘﺪﻣﻮﻧﻪ ﻟﻠﻨﺎﺱ ﺑﺎﻋﺘﺒﺎﺭﻩ "ﻣﺤﺎﻭﻟﺔ ﻟﺘﺠﻤﻴﻞ ﺃﻭ‬

‫ﻻﻳﻨﺒﻐﻲ ﺗﺠﺎﻫﻞ "ﺗﺤﺴﻴﻦ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ" ﻟﻤﺠﺮﺩ ﺃﻧﻬﻢ ﻓﻌﻠﻮﺍ ﺫﻟﻚ "ﺑﺪﻭﻥ ﺃﻭﻝ‬

‫ﺍﻟﺤﺼﻮﻝﻋﻠﻰ ﺍﻟﻤﻮﺍﻓﻘﺔ ﺍﻟﺮﺳﻤﻴﺔ" )‪ .(139‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﺈﻥ ﺍﻟﻤﺆﻟﻔﻴﻦ ﻳﺜﻴﺮﻭﻥ ﺍﻷﻣﻮﺭ ﺍﻟﻬﺎﻣﺔ ﺍﻟﺘﺎﻟﻴﺔ‬

‫ﺃﺳﺉﻠﺔ‪:‬‬

‫ﻫﻞﻧﺘﻮﻗﻒ ﻋﻦ ﺍﻟﺒﺤﺚ ﻋﻦ ﺍﻟﻤﻌﻨﻰ ﺍﻟﺪﺍﺧﻠﻲ ﻟﻠﻮﺣﺔ ﺃﻭ ﻗﺼﻴﺪﺓ ﻋﻨﺪﻫﺎ‬

‫ﻳﻈﻬﺮﻋﻠﻰ ﺍﻟﺤﺎﺉﻂ ﻟﻤﺠﺮﺩ ﺃﻧﻨﺎ ﻻ ﻧﻌﺘﺮﻑ ﺑﺎﻟﺠﺪﺍﺭ ﺑﺎﻋﺘﺒﺎﺭﻩ‬

‫ﻭﻋﺎءﻣﻨﺎﺳﺐ ﻟﻠﻔﻦ ﺃﻭ ﺍﻷﺩﺏ؟ ﻫﻞ ﻧﺘﻮﻗﻒ ﻋﻦ ﻣﺤﺎﻭﻟﺔ ﻓﻬﻢ ﻣﺎﺫﺍ‬

‫ﻟﻘﺪﺣﻔﺰ ﺍﻟﻔﻨﺎﻥ ﺃﻭ ﺍﻟﻜﺎﺗﺐ ﻟﻤﺠﺮﺩ ﺃﻧﻪ ﺍﺧﺘﺎﺭ ﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﻓﻜﺮﻩ‬

‫ﻣﻦﺧﻼﻝ ﺑﻌﺾ ﺍﻟﻮﺳﺎﺉﻂ ﻏﻴﺮ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ؟ )‪(14‬‬

‫ﻭﻳﻀﻴﻒﺷﻤﻮ‪ ،‬ﻭﻫﻮ ﻛﺎﺗﺐ ﺟﺮﺍﻓﻴﺘﻲ ﻣﻨﺬ ﺳﺒﻊ ﺳﻨﻮﺍﺕ‪ ،‬ﺃﻥ "ﻛﺘﺎﺏ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻳﺘﺤﺪﻭﻥ ﻗﻀﺎﻳﺎ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ‬

‫ﻣﻠﻜﻴﺔﺍﻟﻤﻤﺘﻠﻜﺎﺕ‪ ،‬ﻭﺣﺪﻭﺩ ﺍﻟﻌﺮﻕ‪ ،‬ﻭﺍﻟﺜﻘﺎﻓﺔ‪ .‬ﺇﻧﻬﻢ ﻫﻨﺎﻙ ﻳﺠﻌﻠﻮﻥ ﺍﻟﻨﺎﺱ ﻳﻔﻜﺮﻭﻥ‬

‫ﻣﺎﻫﻮ ﻣﺠﺘﻤﻌﻨﺎ‪ ،‬ﻭﻣﺎ ﺗﻌﻨﻴﻪ ﺑﻌﺾ ﻗﻮﺍﻧﻴﻨﻨﺎ ﺣﻘﺎً‪ .‬ﺇﻧﻪ “ﺍﻟﻨﺎﺷﻄﻮﻥ ﺍﻟﻤﺒﺪﻋﻮﻥ ﻭ‬

‫"ﺍﻟﺴﻜﺎﻥ" ﺍﻟﺬﻳﻦ ﻳﺠﺴﺪ ﻧﺸﺎﻃﻬﻢ "ﺇﺣﺴﺎﺳﻬﻢ ﺑﻤﻠﻜﻴﺔ ﺍﻟﻤﺸﺎﻋﺎﺕ ]ﺍﻟﺘﻲ ﻣﻦ ﺧﻼﻟﻬﺎ[ ﺍﻟﺸﺎﺭﻉ‬

‫ﻳﻮﻓﺮﺍﻟﻔﻦ ﺍﻟﻔﺮﺻﺔ ﻟﻠﻤﺸﺎﺭﻛﺔ ﺍﻟﺤﻘﻴﻘﻴﺔ ﻟﺘﺰﺩﻫﺮ ﺧﺎﺭﺝ ﻧﻄﺎﻕ ﺍﻟﻤﺆﺳﺴﺎﺕ‬

‫ﺍﻟﺴﺎﺣﺎﺕﺍﻟﺴﻴﺎﺳﻴﺔ” )ﻓﻴﺴﻜﻮﻧﺘﻲ ﻭﺁﺧﺮﻭﻥ ‪ .(512‬ﻷﻥ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ ﻫﻮ ﻣﺰﻳﺞ ﻣﻦ ﺻﻨﻊ ﺍﻹﻧﺴﺎﻥ ﻭ‬

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 ‫ﻓﻲﺍﻟﻨﻈﺎﻡ ﺍﻟﻄﺒﻴﻌﻲ‪ ،‬ﺗﻌﻤﻞ ﺍﻷﻣﺎﻛﻦ ﺑﻤﺜﺎﺑﺔ "ﻣﺮﺍﻛﺰ ﻣﻬﻤﺔ ﻟﺘﺠﺎﺭﺑﻨﺎ ﺍﻟﻤﺒﺎﺷﺮﺓ ﻓﻲ ﺍﻟﻌﺎﻟﻢ"‬

‫)‪.(512‬‬

‫ﺗﻌﺒﻴﺮﻣﺤﺪﺩ ﻟﻌﺼﺮﻧﺎ‬

‫ﻟﻢﺗﺼﺒﺢ ﺣﺮﻛﺔ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺃﻛﺜﺮ ﺃﻫﻤﻴﺔ ﻣﻦ ﺃﻱ ﻭﻗﺖ ﻣﻀﻰ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﺃﺻﺒﺤﺖ ﺃﻳﻀﺎً‬

‫ﺗﻌﺮﻳﻒﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﻋﺼﺮﻧﺎ ‪ -‬ﻋﺼﺮ ﺟﺪﻳﺪ ﻣﻦ ﻋﺪﻡ ﺍﻟﻴﻘﻴﻦ ﻭﺍﻟﻘﻴﻢ ﺍﻟﻤﺘﻐﻴﺮﺓ‪ .‬ﻭﻓﻖ‬

‫ﺇﻟﻴﺰﺍﺑﻴﺚﻫﻴﺮﺷﻤﺎﻥ ﻓﻲ ﻛﺘﺎﺑﻪ "ﺍﻟﺠﻤﺎﻟﻴﺎﺕ ﻭﺍﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕ ﻭﺣﺪﻭﺩ ﻣﻔﻬﻮﻡ ﺍﻟﺘﺴﻮﻳﻖ"‬

‫"ﻗﺪ ﻳﻌﻤﻞ ﻓﻨﺎﻧﻮ ﺍﻟﺸﻮﺍﺭﻉ ﻛﻔﻨﺎﻧﻴﻦ ﻭﺇﻳﺪﻳﻮﻟﻮﺟﻴﻴﻦ"‪ .‬ﺳﻮﺍء ﻛﺎﻧﻮﺍ "ﻳﻌﺒﺮﻭﻥ ﻋﻦ ﺫﺍﺗﻬﻢ‬

‫"ﻣﻔﺎﻫﻴﻢ ﺍﻟﺠﻤﺎﻝ ﺃﻭ ﺍﻟﻌﺎﻃﻔﺔ ﺃﻭ ﺑﻌﺾ ﺍﻟﻤﺜﻞ ﺍﻟﺠﻤﺎﻟﻴﺔ ﺍﻷﺧﺮﻯ‪ "،‬ﻗﺎﺩﺭﻭﻥ ﻋﻠﻰ ﺍﻟﻘﻴﺎﻡ ﺑﺬﻟﻚ ﻓﻲ ﻭﻗﺖ ﻭﺍﺣﺪ‬

‫"ﺻﻴﺎﻏﺔ ﺍﻟﻤﻌﺘﻘﺪﺍﺕ ﺣﻮﻝ ﻃﺒﻴﻌﺔ ﺍﻟﻮﺍﻗﻊ ﻭﺍﻟﻘﻴﻢ ﺍﻟﻤﺘﻌﻠﻘﺔ ﺑﺤﺎﻻﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻤﺮﻏﻮﺑﺔ"‬

‫)‪ .(46‬ﺇﺫﺍ ﺗﻢ ﺗﻨﻔﻴﺬ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺑﺸﻜﻞ ﺟﻴﺪ‪ ،‬ﻓﺈﻧﻪ ﻳﻨُﻈﺮ ﺇﻟﻴﻪ ﻋﻠﻰ ﺃﻧﻪ ﻣﺴﺎﻫﻤﺔ ﻛﺒﻴﺮﺓ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺗﻌﻠﻴﻖ ﻟﻤﺎ ﻳﺤﺪﺙ‬

‫ﻳﺠﺮﻱﻓﻲ ﺍﻟﺤﻲ ﻣﻦ ﻗﺒﻞ ﺍﻟﻌﻘﻮﻝ ﺍﻟﻤﺒﺪﻋﺔ )ﻓﻴﺴﻜﻮﻧﺘﻲ ﻭﺁﺧﺮﻭﻥ ‪ .(519‬ﻓﻲ ﻣﺎﻳﻜﻞ ﻭﺍﻟﺶ‬

‫ﺟﺮﺍﻓﻴﺘﻮ‪,‬ﻧﻘُﻞ ﻋﻦ ﻓﻨﺎﻥ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ‪ Eskae‬ﻗﻮﻟﻪ‪:‬‬

‫ﻳﻤﻜﻦﻟﻸﺷﺨﺎﺹ ﺍﻟﺬﻳﻦ ﻟﺪﻳﻬﻢ ﺍﻟﻤﺎﻝ ﺃﻥ ﻳﻀﻌﻮﺍ ﻻﻓﺘﺎﺕ‪ ...‬ﺇﺫﺍ ﻟﻢ ﻳﻜﻦ ﻟﺪﻳﻚ ﺍﻟﻤﺎﻝ ﻓﺄﻧﺖ ﻛﺬﻟﻚ‬

‫ﻣﻬﻤﺸﻴﻦ]ﻭ[ ﻻ ﻳﺴُﻤﺢ ﻟﻚ ﺑﺎﻟﺘﻌﺒﻴﺮ ﻋﻦ ﻧﻔﺴﻚ ﺃﻭ ﻃﺮﺡ ﺍﻟﻜﻠﻤﺎﺕ ﺃﻭ‬

‫ﺍﻟﺮﺳﺎﺉﻞﺍﻟﺘﻲ ﺗﻌﺘﻘﺪ ﺃﻥ ﺍﻵﺧﺮﻳﻦ ﻳﺠﺐ ﺃﻥ ﻳﺸﺎﻫﺪﻭﻫﺎ‪ .‬ﺍﻟﺠﻤﻞ )ﺍﻟﺴﺠﺎﺉﺮ(‪ ،‬ﻛﻠﻬﺎ ﻣﻮﺟﻮﺩﺓ‬

‫ﻋﺒﺮﺍﻟﺒﻼﺩ ﻭﺍﻧﻈﺮ ﺇﻟﻰ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﺘﻲ ﻳﺮﺳﻠﻬﺎ ‪ ...Camel‬ﺇﻧﻬﻢ ﻳﺤﺎﻭﻟﻮﻥ ﺫﻟﻚ ﻓﻘﻂ‬

‫ﺇﺑﻘﺎءﺍﻟﺠﻤﺎﻫﻴﺮ ﻣﺸﻠﻮﻟﺔ ﺣﺘﻰ ﻳﺘﻤﻜﻨﻮﺍ ﻣﻦ ﻣﻤﺎﺭﺳﺔ ﺃﻋﻤﺎﻟﻬﻢ ﺑﺎﻟﻘﻠﻴﻞ‬

‫ﻣﻘﺎﻭﻣﺔ‪(25).‬‬

‫ﻳﺴﺘﻤﺮ‪ Eskae‬ﻗﺎﺉﻼ‪" ً:‬ﻓﻦ ]ﺍﻟﺸﺎﺭﻉ[ ﻣﺠﺎﻧﻲ ﻟﻠﺠﻤﻴﻊ ﻟﻴﺄﺗﻲ ﻭﻳﺸﺎﻫﺪﻩ‪ ،‬ﻭﻻ ﻳﻤﻜﻦ ﻷﺣﺪ ﺃﻥ ﻳﻤﺘﻠﻜﻪ‪ ،‬ﺇﻧﻪ‬

‫ﻣﻠﻚﻟﻨﺎ ﺟﻤﻴﻌﺎً" )ﻭﺍﻟﺶ‪ ،‬ﺍﻟﻐﻼﻑ ﺍﻟﺨﻠﻔﻲ(‪.‬‬

‫ﺇﻥﺗﺎﺭﻳﺦ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻫﻮ "ﻗﺼﺔ ﺭﺍﺉﻌﺔ ﻣﻦ ﺍﻟﺘﻄﻮﺭ ﺗﻐﺬﻳﻬﺎ ﺍﻟﺴﻴﺎﺳﺔ ﻭﺍﻟﺠﻤﺎﻟﻴﺔ‬

‫ﺍﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕﻓﻲ ﺍﻟﺘﻬﺠﻴﻦ ﺍﻟﻤﺴﺘﻤﺮ ﺑﻴﻦ ﺍﻟﺜﻘﺎﻓﺎﺕ” )ﻓﻴﺴﻜﻮﻧﺘﻲ ﻭﺁﺧﺮﻭﻥ ‪ (513‬ﺣﻴﺚ “ﺍﻟﺴﻜﺎﻥ‪ ،‬ﺍﻟﻔﻦ‬

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‫ﺍﻟﺨﺒﺮﺍءﻭﺍﻟﻤﺴﺆﻭﻟﻮﻥ ﺍﻟﺤﻜﻮﻣﻴﻮﻥ‪ ...‬ﻳﻨﻈﺮﻭﻥ ﻓﻲ ﺍﻟﻮﺍﻗﻊ ﺇﻟﻰ ﺗﺪﺧﻼﺕ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻋﻠﻰ ﺃﻧﻬﺎ ﺃﻋﻤﺎﻝ‬

‫ﺍﻟﺘﺠﻤﻴﻞﺃﻭ ﺣﺘﻰ ﺍﻟﻔﻦ ﺍﻟﻌﺎﻡ‪ ،‬ﻭﻟﻜﻦ ﺃﻳﻀﺎً ﺑﺎﻋﺘﺒﺎﺭﻩ ﺗﺸﻮﻳﻬﺎً ﻣﻄﻠﻘﺎً ﻟﻠﻨﻈﺎﻡ ﺍﻟﻌﺎﻡ” )‪ .(513‬ﺍﻝ‬

‫ﻳﻄُﻠﺐﻣﻦ ﺍﻟﻤﺎﺭﺓ ﺃﻥ ﻳﻜﻮﻧﻮﺍ ﻗﺎﺭﺉﺎً ﻧﻘﺪﻳﺎً ﻭﻣﺆﻟﻔﺎً ﻧﺸﻄﺎً ﻟﻨﺼﻮﺹ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻭ‬

‫ﺍﻟﺮﺳﺎﺉﻞ‪،‬ﻭﻟﻜﻦ ﺃﻳﻀﺎً "ﺍﻟﺮﺩ ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﻜﻤﺎﻝ ﺃﻋﻤﺎﻝ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻟﺘﺤﻘﻴﻖ ﺍﻟﺸﻌﻮﺭ ﺍﻟﺠﻤﺎﻋﻲ‬

‫ﺍﻟﻬﻮﻳﺔﻭﺍﻻﻧﺘﻤﺎء ﺇﻟﻰ ﺍﻟﻔﻀﺎء ﺍﻟﻤﺸﺘﺮﻙ” )‪ .(521‬ﺗﺄﺛﻴﺮ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻫﺎﺉﻞ‪ ،‬ﻷﻧﻪ ﻳﺠﻠﺐ ﺍﻟﻬﻮﺍء‬

‫"ﺍﻟﺴﻌﺎﺩﺓ ﻓﻲ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ﺍﻟﻤﻤﻠﺔ" )‪ .(521‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ “ﺍﻹﺑﺪﺍﻉ ﺍﻟﻮﺍﺿﺢ‪] ،‬ﻭ[ ﺍﻹﺣﺴﺎﺱ‬

‫"ﺍﻟﻤﺠﺘﻤﻊ‪ ...‬ﻳﺠﻤﻊ ﺍﻟﻨﺎﺱ ﻣﻌﺎً"‪ ،‬ﻭﺑﻄﺮﻳﻘﺔ ﻣﺎ‪ ،‬ﻳﺨﻠﻖ ﺍﻟﺜﻘﺎﻓﺔ )‪.(522‬‬

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‫ﺗﻌﻤﻴﻢﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

‫ﻓﻲﺃﻭﺍﺉﻞ ﺍﻟﺴﺒﻌﻴﻨﻴﺎﺕ‪ ،‬ﻋﺒﺮ ﺷﺒﺎﺏ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺤﻀﺮﻳﺔ ﻋﻦ ﺇﺣﺒﺎﻃﺎﺗﻬﻢ ﻣﻦ ﺧﻼﻝ ﺍﻟﺮﺫﺍﺫ‬

‫ﺍﻟﺨﻄﻮﻁﻭﺍﻟﻤﻨﺤﻨﻴﺎﺕ ﻭﺍﻷﺣﺮﻑ ﺍﻟﻔﻘﺎﻋﻴﺔ ﺍﻟﻤﺮﺳﻮﻣﺔ ﺍﻟﺘﻲ ﺳﺘﺒﺘﻠﻊ ﻗﺮﻳﺒﺎً ﻋﺮﺑﺎﺕ ﻣﺘﺮﻭ ﺍﻷﻧﻔﺎﻕ ﻓﻲ ﻣﺪﻳﻨﺔ ﻧﻴﻮﻳﻮﺭﻙ‬

‫ﻣﺤﻄﺎﺕ‪.‬ﻋﻨﺪﻣﺎ ﻭﺍﺟﻪ ﺍﻟﺠﻤﻬﻮﺭ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻟﻠﻤﺮﺓ ﺍﻷﻭﻟﻰ‪ ،‬ﻟﻢ ﻳﻜﻦ ﻟﺪﻳﻪ ﺃﻱ ﻓﻜﺮﺓ ﻋﻤﺎ ﻛﺎﻥ ﻳﺮﺍﻩ‪.‬‬

‫ﺍﻟﻴﻮﻡ‪،‬ﻳﺘﻢ ﺍﻟﺨﻠﻂ ﺑﻴﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﻮﺍﺭﻉ ﻋﻠﻰ ﺃﻧﻬﺎ ﻣﺼﻄﻠﺤﺎﺕ ﻣﺘﺮﺍﺩﻓﺔ‪ ،‬ﻋﻠﻰ ﺍﻟﻔﻮﺭ‬

‫ﻳﻤﻜﻦﺍﻟﺘﻌﺮﻑ ﻋﻠﻴﻪ‪ .‬ﻣﻨﺬ ﺑﺪﺍﻳﺘﻬﺎ‪ ،‬ﺗﻢ ﺍﻋﺘﺒﺎﺭ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺑﻤﺜﺎﺑﺔ ﺗﺨﺮﻳﺐ ﻣﻦ ﻗﺒﻞ ﺍﻟﺤﻜﻮﻣﺔ ﻭﺍﻟﻌﺒﻮﺭ‬

‫ﺍﻟﺴﻠﻄﺎﺕ‪،‬ﻭﻟﻜﻨﻬﺎ ﺗﻤﻜﻨﺖ ﻣﻦ ﺍﻟﺘﻄﻮﻳﺮ ﺍﻟﻤﺴﺘﻤﺮ "ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻷﺳﻠﻮﺑﻴﺔ ﻭﻣﻦ ﺣﻴﺚ ﺍﻟﺼﻨﺎﻋﺔ ﺍﻟﺘﻲ‬

‫ﻭﻗﺪﻧﺸﺄ ﺣﻮﻟﻬﺎ« )ﻟﻮﻳﺴﻮﻥ ‪ .(31‬ﺃﺷﻜﺎﻝ ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﻭﺳﺎﺉﻞ ﺍﻹﻋﻼﻡ ﻣﺜﻞ ﺍﻷﻓﻼﻡ ﺍﻟﺸﻌﺒﻴﺔ‬

‫ﺳﺎﻋﺪﺕﻣﻘﺎﻃﻊ ﺍﻟﻔﻴﺪﻳﻮ ﻭﺍﻟﻤﺠﻼﺕ ﺍﻟﺘﻲ ﺗﺼﻮﺭ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ ،‬ﻓﻲ ﺍﻧﺘﺸﺎﺭ ﺍﻟﺤﺮﻛﺔ ﻟﺘﺼﺒﺢ ﻇﺎﻫﺮﺓ ﻋﺎﻟﻤﻴﺔ‪،‬‬

‫ﻭﻟﻢﻳﻤﺾ ﻭﻗﺖ ﻃﻮﻳﻞ ﻗﺒﻞ ﺃﻥ ﻳﺒﺪﺃ ﻋﺎﻟﻢ ﺍﻟﻔﻦ ﻓﻲ ﻣﺪﻳﻨﺔ ﻧﻴﻮﻳﻮﺭﻙ ﻓﻲ ﺍﻋﺘﺒﺎﺭ ﻫﺬﺍ ﺍﻷﻣﺮ ﺟﺪﻳﺪﺍً‬

‫ﺷﻜﻞﺷﺎﻣﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﻴﺮ ﺑﺎﺳﻢ "ﺍﻷﻧﺎﻗﺔ ﺍﻟﺮﺍﺩﻳﻜﺎﻟﻴﺔ" )ﺃﺑﻴﻞ‪ ،‬ﺑﺎﻛﻠﻲ ‪ .(141‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﻫﺬﺍ ﻗﺪ ﻳﻌﻨﻲ ﺫﻟﻚ‬

‫ﻳﺘﻢﻓﻘﺪﺍﻥ ﺑﻌﺾ ﺍﻟﺘﺄﺛﻴﺮ‪ ،‬ﻛﻤﺎ ﻫﻮ ﺍﻟﺤﺎﻝ ﻓﻲ ﺃﻱ ﻧﻮﻉ ﻣﻦ ﻋﻤﻠﻴﺎﺕ ﺍﻟﺘﺪﺟﻴﻦ‪ ،‬ﺃﻋﺘﻘﺪ ﺃﻥ ﻗﻮﺓ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‬

‫ﺗﻜﻤﻦﻓﻲ ﻗﺪﺭﺗﻬﺎ ﻋﻠﻰ ﺇﺛﺎﺭﺓ ﺍﻟﻤﻮﺍﺟﻬﺔ ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ‪ ،‬ﻭﺗﺼﺪﺭ ﺍﻟﻌﻨﺎﻭﻳﻦ ﺍﻟﺮﺉﻴﺴﻴﺔ‪ ،‬ﻭﺗﻘﺴﻴﻢ ﺍﻟﺮﺃﻱ ﺍﻟﻌﺎﻡ‪.‬‬

‫ﺃﺩﻯﺍﻟﺘﺄﺛﻴﺮ ﺍﻟﺒﻌﻴﺪ ﺍﻟﻤﺪﻯ ﻟﺜﻘﺎﻓﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺇﻟﻰ ﺗﻌﻤﻴﻖ ﺍﻻﻫﺘﻤﺎﻡ ﺑﻬﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‬

‫ﻋﻠﻰﻣﺮ ﺍﻟﺴﻨﻴﻦ ﻭﻛﺬﻟﻚ ﺍﻟﻘﺒﻮﻝ ﺍﻟﺴﺎﺉﺪ‪ .‬ﻟﻘﺪ ﻭﻟﺪّ ﺑﻌﺾ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﻜﺜﻴﺮ ﻣﻦ ﺍﻻﻫﺘﻤﺎﻡ‬

‫ﻣﻦﺧﻼﻝ ﻋﻤﻠﻬﻢ ﻓﻲ ﺍﻟﺸﻮﺍﺭﻉ ﻟﻢ ﻳﻤﺾ ﻭﻗﺖ ﻃﻮﻳﻞ ﻗﺒﻞ ﺃﻥ ﺗﺒﺪﺃ ﺻﺎﻻﺕ ﺍﻟﻌﺮﺽ ﻓﻲ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻴﻬﺎ‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻛﻨﻮﻉ ﺻﺎﻟﺢ ﻣﻦ ﺍﻟﻔﻦ‪ .‬ﻗﺪﻡ ﻫﺬﺍ "ﺷﻜﻼ ًﻏﻴﺮ ﻣﺤﺘﻤﻞ ﻣﻦ ﺍﻟﺤﺮﺍﻙ ﺍﻻﺟﺘﻤﺎﻋﻲ" ﺍﻟﺬﻱ ﺃﺩﻯ ﺇﻟﻰ‬

‫"ﺇﻧﺸﺎء ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻨﺠﻮﻡ ﺍﻟﺸﺒﺎﺏ" ﻣﺜﻞ ﺑﺎﺳﻜﻴﺎﺕ ﻭﻛﻴﺚ ﻫﺎﺭﻳﻨﺞ "ﺍﻟﺬﻳﻦ ﺗﻢ ﺗﻮﺩﻳﺪﻫﻢ ]ﺑﺸﺪﺓ[‬

‫ﺑﻮﺍﺳﻄﺔﻋﺎﻟﻢ ﺍﻟﻔﻦ" )ﻟﻮﻳﺴﻮﻥ ‪ .(35‬ﻭﻧﺘﻴﺠﺔ ﻟﺬﻟﻚ‪ ،‬ﻓﺈﻥ ﺍﻟﺠﺎﺫﺑﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﻘﻮﻳﺔ ﻟﻬﺬﻩ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻔﺮﻋﻴﺔ ﺍﻟﻨﺎﺑﻀﺔ ﺑﺎﻟﺤﻴﺎﺓ‬

‫ﺍﻛﺘﺴﺒﺖﺃﻫﻤﻴﺔ ﻋﻠﻰ ﻣﺮ ﺍﻟﺴﻨﻴﻦ ﻭﺃﺻﺒﺤﺖ ﻣﻨﺬ ﺫﻟﻚ ﺍﻟﺤﻴﻦ ﻭﺍﺿﺤﺔ ﺑﺸﻜﻞ ﻻﻓﺖ ﻟﻠﻨﻈﺮ ﻓﻲ ﺍﻹﻋﻼﻧﺎﺕ‪،‬‬

‫ﺍﻟﺘﺼﻤﻴﻢﻭﺍﻟﻤﻌﺎﺭﺽ ﺍﻟﻔﻨﻴﺔ ﻭﺍﻟﻤﺘﺎﺣﻒ ﻭﺍﻷﺯﻳﺎء ﻭﺣﺘﻰ ﺻﻨﺎﻋﺔ ﺍﻷﻟﻌﺎﺏ ﺍﻟﻴﻮﻡ‪ .‬ﺍﻟﺘﺠﺎﺭﻱ‬

‫ﺍﺳﺘﺠﺎﺏﺍﻟﻌﺎﻟﻢ ﺑﺸﻜﻞ ﺇﻳﺠﺎﺑﻲ ﻟﻠﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺑﻌﺪ ﺃﻥ ﺍﻛﺘﺸﻔﺖ ﻗﻄﺎﻋﺎﺕ ﻣﻦ ﺍﻟﺴﻮﻕ‬

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 ‫ﺇﻣﻜﺎﻧﺎﺕﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻟﺘﻌﺰﻳﺰ ﺻﻮﺭﺓ ﺍﻟﺸﺮﻛﺔ ﻭﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺍﻟﻤﺴﺘﻬﻠﻜﻴﻦ ﺍﻟﺸﺒﺎﺏ‪ .‬ﻳﻤﻜﻦ ﻟﻔﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ‬

‫ﻳﻤﻜﻦﺍﻟﻌﺜﻮﺭ ﻋﻠﻴﻬﺎ ﺍﻵﻥ ﻓﻲ ﻭﻛﺎﻻﺕ ﺍﻟﺘﺼﻤﻴﻢ‪ ،‬ﻭﺍﻟﻌﻤﻞ ﻛﻔﻨﺎﻧﻴﻦ ﺭﺳﻮﻣﻴﻴﻦ ﻣﺴﺘﻘﻠﻴﻦ‪ ،‬ﻭﺇﻛﻤﺎﻝ ﺍﻟﺘﻜﻠﻴﻒ‬

‫ﺍﻷﺷﻐﺎﻝﺍﻟﻌﺎﻣﺔ‪ ،‬ﻭﺗﺼﻤﻴﻢ ﺍﻷﺣﺬﻳﺔ‪ ،‬ﻭﺣﺘﻰ ﺗﻨﻈﻴﻢ ﺍﻟﻤﻌﺎﺭﺽ ﺍﻟﺨﺎﺻﺔ ﺑﻬﻢ‪ .‬ﻟﻘﺪ ﻻﺣﻈﺖ ﺫﻟﻚ ﺃﻛﺜﺮ‬

‫ﻋﻠﻰﻣﺮ ﺍﻟﺴﻨﻴﻦ‪ ،‬ﺗﺸﻜﻠﺖ ﺭﺍﺑﻄﺔ ﺑﻴﻦ ﻣﺸﻬﺪ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻭﻋﺎﻟﻢ ﺍﻷﻋﻤﺎﻝ‬

‫ﺃﺩﻯﺇﻟﻰ ﺍﺳﺘﻐﻼﻝ ﺍﻟﻤﺼﺎﻟﺢ ﻓﻲ ﻣﻨﺘﺠﺎﺗﻬﺎ ﻛﻤﺎ ﺗﻌﻠﻢ ﺍﻟﻔﻨﺎﻧﻮﻥ ﺃﻧﻔﺴﻬﻢ ﺑﺴﺮﻋﺔ‬

‫ﻛﻴﻔﻴﺔﺍﻻﺳﺘﻔﺎﺩﺓ ﻣﻦ ﻣﻮﻗﻔﻬﻢ‪ .‬ﻟﻢ ﻳﻌﺪ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻳﻌﻤﻠﻮﻥ ﻓﻲ ﺍﻟﺸﻮﺍﺭﻉ ﺣﺼﺮﻳﺎً‪ ،‬ﺑﻞ ﺃﻳﻀﺎً‬

‫ﺃﻋﻤﺎﻝﺍﻟﺮﺳﻢ ﻋﻠﻰ ﺍﻟﻘﻤﺎﺵ ﻟﻌﺮﺿﻬﺎ ﻓﻲ ﺻﺎﻻﺕ ﺍﻟﻌﺮﺽ‪ .‬ﻭﺍﻟﻴﻮﻡ‪ ،‬ﻳﺘﻤﺘﻊ ﺑﻌﺾ ﺍﻟﻔﻨﺎﻧﻴﻦ ﺑﺎﻟﻌﺎﻟﻤﻴﺔ‬

‫ﺷﻬﺮﺓﺣﻴﺚ ﻳﺘﻢ ﻋﺮﺽ ﺃﻋﻤﺎﻟﻬﻢ ﻓﻲ ﺍﻟﻤﺘﺎﺣﻒ ﺍﻟﺸﻬﻴﺮﺓ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ ﻣﺜﻞ ﻣﺘﺤﻒ ﺳﻤﻴﺜﺴﻮﻧﻴﺎﻥ‪،‬‬

‫ﻭﻣﺘﺤﻒﺍﻟﻔﻦ ﺍﻟﺤﺪﻳﺚ ﻓﻲ ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﻭﻣﺘﺤﻒ ﻓﻴﻜﺘﻮﺭﻳﺎ ﻭﺃﻟﺒﺮﺕ ﻓﻲ ﻟﻨﺪﻥ‪ .‬ﺍﻝ‬

‫ﻧﻈﻢﻣﺘﺤﻒ ﺍﻟﻔﻦ ﺍﻟﻤﻌﺎﺻﺮ ﻓﻲ ﻟﻮﺱ ﺃﻧﺠﻠﻮﺱ ﺣﻠﻘﺔ ﻧﻘﺎﺵ ﺣﻮﻝ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺃﻳﻀﺎً‬

‫ﺑﺎﻋﺘﺒﺎﺭﻩﻣﻌﺮﺿﺎً ﻧﺎﺟﺤﺎً ﻟﻠﻐﺎﻳﺔ ﻳﺤﺘﻔﻞ ﺑﺎﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﺤﻀﺮﻳﺔ‪ ،‬ﻭﻫﻮ ﺍﻷﻭﻝ ﻣﻦ ﻧﻮﻋﻪ ﻓﻲ ﺍﻟﻮﻻﻳﺎﺕ ﺍﻟﻤﺘﺤﺪﺓ‪.‬‬

‫ﺃﺩﻯﺍﻻﻫﺘﻤﺎﻡ ﺍﻟﻤﺘﺰﺍﻳﺪ ﻓﻲ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺘﺠﺎﺭﻱ ﺑﻬﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺇﻟﻰ ﺍﺭﺗﻔﺎﻉ ﻗﻴﻤﺘﻪ‬

‫ﺃﻋﻤﺎﻝﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ‪ ،‬ﻭﺍﻟﺘﻲ ﻳﺘﻢ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ ﺑﻨﻔﺲ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﻲ ﻳﺘﻢ ﺑﻬﺎ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻷﻧﻮﺍﻉ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻤﺸﺮﻭﻋﺔ ﺍﻷﺧﺮﻯ‪.‬‬

‫ﻓﻲﺣﻴﻦ ﺃﻥ ﻫﺬﺍ ﻳﺴﻬﻞ ﻋﻠﻰ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻔﻨﺎﻧﻴﻦ ﺗﻨﻈﻴﻢ ﻣﻌﺎﺭﺿﻬﻢ ﻭﺃﺣﺪﺍﺛﻬﻢ ﺍﻟﺨﺎﺻﺔ‪ ،‬ﺇﻻ ﺃﻥ ﺍﻟﻘﻠﻴﻞ ﻣﻨﻬﻢ‬

‫ﺍﻟﺤﺼﻮﻝﻋﻠﻰ ﻗﺪﺭ ﻣﻦ ﺍﻟﻨﺠﺎﺡ ﻣﺜﻞ ﻓﻨﺎﻧﻴﻦ ﻣﺜﻞ ﺑﺎﻧﻜﺴﻲ‪ ،‬ﺍﻟﺬﻱ ﺟﻠﺒﺖ ﺃﻋﻤﺎﻟﻪ ﻣﺎ ﻳﺼﻞ ﺇﻟﻰ ﺳﺘﺔ‬

‫ﺍﻷﺭﻗﺎﻡﻋﻨﺪﻣﺎ ﻳﺘﻢ ﺑﻴﻌﻬﺎ ﺑﺎﻟﻤﺰﺍﺩ ﺍﻟﻌﻠﻨﻲ ﺑﻮﺍﺳﻄﺔ ‪ Sotheby's‬ﻭﻣﺎ ﺷﺎﺑﻪ )‪،Ganz‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .(374,‬ﺍﻟﺘﻄﻮﺭ‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﺤﺮﻛﺔ ﺍﻟﺘﻲ ﻣﻨﻬﺎ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻭﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫ﺍﻟﻤﺘﻘﺪﻣﺔ‪،‬ﻟﻴﺴﺖ ﺷﺎﺉﻌﺔ ﻋﻠﻰ ﺍﻹﻃﻼﻕ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‪ .‬ﺑﺪﻻ ﻣﻦ ﺫﻟﻚ‪ ،‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻷﻣﺮﻳﻜﻴﺔ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻫﺎ‬

‫ﻣﺼﻄﻠﺢﻋﺎﻡ‪ ،‬ﻳﻘﺪﻡ ﺗﻨﺎﻗﻀﺎً ﺻﺎﺭﺧﺎً ﻣﻊ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ )ﺍﻟﺘﻲ ﻻ ﺗﺰﺍﻝ ﻓﻲ ﺃﻧﻘﻰ ﺻﻮﺭﻫﺎ ﻭﺃﺻﻠﻬﺎ( ﺍﻟﺘﻲ ﻇﻬﺮﺕ‬

‫ﻇﻬﺮﺕﻛﺮﺩ ﻓﻌﻞ ﻋﻠﻰ ﺍﻷﺯﻣﺎﺕ ﻭﺍﻻﺿﻄﺮﺍﺑﺎﺕ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﻜﺒﺮﻯ‪ ،‬ﻭﺗﺤﺪﻳﺪﺍً ﺗﻠﻚ ﺍﻟﺘﻲ‬

‫ﻳﻘﺎﻡﻓﻲ ﻣﺼﺮ ﻭﺍﻟﺒﺮﺍﺯﻳﻞ‪.‬‬

‫ﻭﻣﻊﺫﻟﻚ‪ ،‬ﻻ ﻳﻨﺒﻐﻲ ﺍﻻﻓﺘﺮﺍﺽ ﺃﻥ ﺟﻤﻴﻊ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻳﺴﻌﻮﻥ ﺟﺎﻫﺪﻳﻦ ﻟﺘﺤﻘﻴﻖ ﺍﻟﻨﺠﺎﺡ ﺍﻟﺘﺠﺎﺭﻱ ﺃﻭ‬

‫ﻋﺮﺽﺃﻋﻤﺎﻟﻬﻢ ﻓﻲ ﺻﺎﻻﺕ ﺍﻟﻌﺮﺽ ﺃﻭ ﺍﻟﻤﺘﺎﺣﻒ‪ .‬ﻓﻲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﺜﻴﺮﻭﻥ ﻻ ﻳﺮﻏﺒﻮﻥ ﺣﺘﻰ ﻓﻲ ﺃﻥ ﻳﻜﻮﻧﻮﺍ ﻛﺬﻟﻚ‬

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‫ﻳﻌﺘﺒﺮﻭﻥﻓﻨﺎﻧﻴﻦ ﺃﻭ ﻳﺘﻢ ﺗﻌﺮﻳﻒ ﺣﺮﻓﺘﻬﻢ ﻋﻠﻰ ﺃﻧﻬﺎ ﺃﻱ ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ‪ .‬ﺇﻧﻬﻢ ﻳﻔﻀﻠﻮﻥ ﺍﻟﻌﻤﻞ ﺑﺸﻜﻞ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻲ‬

‫ﻓﻲﺍﻟﺸﻮﺍﺭﻉ‪ ،‬ﻷﻥ ﺩﺍﻓﻌﻬﻢ ﻫﻮ ﺍﻟﻤﺴﺎﻫﻤﺔ ﺑﺸﻜﻞ ﺧﻼﻕ ﻓﻲ ﺑﻴﺉﺘﻬﻢ‪ ،‬ﻭﺇﺿﻔﺎء ﺍﻟﺒﻬﺠﺔ ﻋﻠﻴﻬﺎ‬

‫ﺣﻴﺎﺓﺍﻟﻤﺎﺭﺓ‪ .‬ﻳﺪﻋﻲ ﻓﻨﺎﻥ ﺍﻟﺸﺎﺭﻉ ﺍﻟﺒﺮﺍﺯﻳﻠﻲ ﺩﻳﻨﻴﻨﻴﺎ ﺃﻧﻪ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ "ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻫﻲ ﻓﻦ"‪ ،‬ﺇﻻ ﺃﻧﻬﺎ ﻟﻴﺴﺖ ﻛﺬﻟﻚ‬

‫"ﻓﻦ ﻣﻨﺎﻓﻖ‪ ،‬ﻣﺜﻞ ﺍﻟﻜﺜﻴﺮ )ﻭﺇﻥ ﻟﻢ ﻳﻜﻦ ﻛﻞ( ﺍﻷﺷﻴﺎء ﺍﻟﺘﻲ ﺗﺮﺍﻫﺎ ﻓﻲ ﺻﺎﻻﺕ ﺍﻟﻌﺮﺽ‪ ،‬ﻭﻟﻜﻦ ﺷﻴﺉﺎً ﻣﺎ‬

‫ﺃﻧﻨﺎﻧﻔﻌﻞ ﺫﻟﻚ ﺩﻭﻥ ﺃﻣﻞ ﻓﻲ ﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﺃﻱ ﺷﻲء ﻓﻲ ﺍﻟﻤﻘﺎﺑﻞ" )ﻏﺎﻧﺰ‪،‬ﺟﺮﺍﻓﻴﺖ ﺍﻟﻨﺴﺎء‪ .(40,‬ﻭﺗﻀﻴﻒ‬

‫ﺃﻥﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺑﻤﺜﺎﺑﺔ ﻓﻦ "ﻣﻮﺟﻮﺩ ﻓﻲ ﺍﻟﺸﺎﺭﻉ ﻷﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ ﻟﻴﺲ ﻟﺪﻳﻬﻢ ﺛﻘﺎﻓﺔ‪ ،‬ﻻ‬

‫ﺃﻓﻬﻢﺍﻟﻔﻦ ﻭﻟﻜﻦ ﺃﺣﺒﻪ ﻋﻠﻰ ﺣﻘﻴﻘﺘﻪ ‪ ...‬ﻟﻠﻤﺘﺴﻮﻟﻴﻦ ﻭﺍﻷﻃﻔﺎﻝ ﺍﻟﻔﻘﺮﺍء ﻭﺍﻟﺒﻐﺎﻳﺎ ﻭﺍﻟﻤﺠﺎﻧﻴﻦ ﻭ‬

‫ﺳﻜﺎﺭﻯﺍﻟﺸﻮﺍﺭﻉ« )‪ .(٤٠‬ﻻ ﻳﺠﻮﺯ ﺑﻴﻌﻪ ﺃﻭ ﺷﺮﺍﺅﻩ‪ ،‬ﺑﻞ ﺍﻟﻔﻦ ﺍﻟﺬﻱ ﻫﻮ ﻟﻠﺸﻌﺐ‪.‬‬

‫ﺃﺩﺕﺍﻹﻋﻼﻧﺎﺕ ﻭﺍﻟﻄﺮﻕ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﺘﺴﻠﻴﻢ ﺍﻟﺮﺳﺎﺉﻞ ﺇﻟﻰ ﺯﻳﺎﺩﺓ‬

‫ﻗﺒﻮﻝﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ .‬ﻭﻳﺮﻯ ﺍﻟﺒﻌﺾ ﺃﻥ ﻫﺬﺍ ﺃﺛﺮ ﺳﻠﺒﺎ ًﻋﻠﻰ ﺍﻟﻔﻦ‬

‫ﺍﻟﺸﻜﻞﻛﻤﺎ ﺃﻥ ﺗﺼﻮﻳﺮﻩ ﻓﻲ ﺍﻟﻘﻄﺎﻉ ﺍﻟﺘﺠﺎﺭﻱ ﻳﻘﺪﻡ ﺍﻧﻄﺒﺎﻋﺎً ﻋﻘﻴﻤﺎً‪ ،‬ﻣﺘﺒﺎﻋﺪﺍً ﻋﻦ ﻣﺎﺫﺍ‬

‫ﺍﻟﻤﻘﺼﻮﺩﻣﻦ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻓﻲ ﺃﺑﺴﻂ ﺃﺷﻜﺎﻟﻪ ﻫﻮ ﺍﻟﺘﻤﺜﻴﻞ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻋﻨﺪﻣﺎ ﻳﺘﻢ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻨﻤﻂ ﻝ‬

‫ﻛﻮﺳﻴﻠﺔﺗﺠﺎﺭﻳﺔ‪ ،‬ﻓﺈﻧﻪ ﻳﺄﺧﺬ ﻣﻌﻨﻰ ﻣﺨﺘﻠﻔﺎ ﺗﻤﺎﻣﺎ‪ .‬ﺑﺪﻻ ﻣﻦ ﺗﺤﻘﻴﻖ ﻧﻮﻉ ﻣﻦ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬

‫ﻧﺘﻴﺠﺔﺃﻭ ﺗﻐﻴﻴﺮ ﺍﺟﺘﻤﺎﻋﻲ ﻣﻠﻬﻢ ‪ -‬ﻣﻤﺎ ﻳﺠﺒﺮ ﺍﻟﻤﺸﺎﻫﺪ ﻋﻠﻰ ﺍﻟﺘﻔﻜﻴﺮ ﻛﻤﺎ ﻳﻔﻌﻞ ﺃﻱ ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻌﻤﻞ ﺍﻟﻔﻨﻲ‬

‫ﻭﻇﻴﻔﺘﻬﺎ‪"،‬ﺗﺼﺒﺢ ﺃﺩﺍﺓ ﺗﻌﻤﻞ ﻓﻲ ﺧﺪﻣﺔ ﺷﻲء ﺁﺧﺮ" )‪ .(113‬ﺃﺛﻨﺎء ﺍﻹﻋﻼﻥ‬

‫ﻳﻘﺪﻡﺍﺳﺘﺨﺪﺍﻣﺎً ﻣﺨﻔﻔﺎً ﻭﻣﺪﻓﻮﻋﺎً ﺗﺠﺎﺭﻳﺎً ﻷﺳﻠﻮﺏ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﻳﺴﺎﻫﻢ ﻓﻲ ﺗﻌﺰﻳﺰﻩ‬

‫ﺷﻌﺒﻴﺔ‪.‬ﻭﻓﻲ ﺭﺃﻳﻲ ﺃﻥ ﻫﺬﺍ ﻳﺴﺎﻫﻢ ﺑﺸﻜﻞ ﺇﻳﺠﺎﺑﻲ ﻓﻲ ﺗﻌﺰﻳﺰ ﺳﻠﻄﺔ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻣﺮﺓ ﻭﺍﺣﺪﺓ‬

‫ﻋﻨﺪﺗﻌﺮﻳﻀﻬﺎ ﻟﻠﻮﺳﻂ ﺑﻄﺮﻳﻘﺔ ﺧﺎﺿﻌﺔ ﻟﻠﺮﻗﺎﺑﺔ‪ ،‬ﻗﺪ ﻳﻤﻴﻞ ﺍﻟﻤﺴﺘﻬﻠﻜﻮﻥ ﺇﻟﻰ ﺍﻟﻨﻈﺮ ﺇﻟﻴﻬﺎ‬

‫ﻓﻦﺍﻟﺸﺎﺭﻉ ﻭﺍﻟﻜﺘﺎﺑﺎﺕ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻬﺎ ﻳﻮﺍﺟﻬﻮﻧﻬﺎ ﻓﻲ ﺍﻟﺸﺎﺭﻉ ﺑﻤﺰﻳﺪ ﻣﻦ ﺍﻟﺘﻘﺪﻳﺮ ﻭ"ﺃ‬

‫ﻭﺗﺰﺍﻳﺪﺍﻹﺣﺴﺎﺱ ﺑﺎﻟﺮﻗﻲ« )‪.(١١٣‬‬

‫ﻳﻌﺪﻭﺟﻮﺩ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﻮﺍﺭﻉ ﻓﻲ ﻋﺎﻟﻢ ﺍﻟﻤﺘﺎﺣﻒ ﻇﺎﻫﺮﺓ ﻣﺜﻴﺮﺓ ﻟﻼﻫﺘﻤﺎﻡ‬

‫ﻓﻲﺫﺍﺗﻪ‪ .‬ﺗﻤﺜﻞ ﺍﻟﻤﺘﺎﺣﻒ "ﻣﻌﺎﺑﺪ ﺍﻟﺘﺎﺭﻳﺦ" ﺍﻟﺘﻲ ﺗﺘﺤﺪﺙ ﻋﻦ ﺍﻟﺜﺮﻭﺓ ﻭﺍﻟﺜﻘﺎﻓﺔ‬

‫)‪ .(127‬ﻭﺣﺘﻰ ﻫﻴﺎﻛﻞ ﻫﺬﻩ ﺍﻟﻤﺆﺳﺴﺎﺕ ﺗﺨﻴﻒ ﺟﻤﻬﻮﺭﻫﺎ ﺑﻔﻜﺮﺓ ﺃﻧﻬﺎ‬

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 ‫ﻫﻢﺍﻟﻤﺤﻜﻤﻮﻥ ﺍﻟﻨﻬﺎﺉﻴﻮﻥ ﻟﻠﺬﻭﻕ ﺣﻴﺚ ﻳﺘﻢ ﻭﺿﻊ "ﻧﻈﺎﻡ ﺍﻟﻘﻴﻤﺔ ﺍﻟﻬﺮﻣﻲ ﻟﻸﻋﻤﺎﻝ ﺍﻟﺘﻲ ﻳﻘﻮﻣﻮﻥ ﺑﻬﺎ"‪.‬‬

‫ﺗﻢﺇﻧﺸﺎء ﺍﻟﻌﺮﺽ )‪ .(١٢٧‬ﺍﻟﺨﻂ ﺍﻟﺮﻓﻴﻊ ﺑﻴﻦ ﻋﺪﻡ ﺷﺮﻋﻴﺔ ﻭﺷﺮﻋﻴﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻫﻮ‬

‫ﻳﺰﺩﺍﺩﻋﺪﻡ ﺍﻟﻮﺿﻮﺡ ﻣﻊ ﺍﺣﺘﻔﺎﻝ ﺍﻟﻤﺆﺳﺴﺎﺕ‪ ،‬ﺍﻟﺘﻲ ﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻤﻮﻟﻬﺎ ﺍﻟﺤﻜﻮﻣﺔ‪ ،‬ﺑﻬﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ‪.‬‬

‫ﻭﻓﻲﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﻳﻨُﻈﺮ ﺇﻟﻴﻬﻢ ﻋﻠﻰ ﺃﻧﻬﻢ ﺟﺰء ﻣﻦ "ﺍﻟﺠﻬﺎﺯ ﺍﻟﺴﻴﺎﺳﻲ" ﺍﻟﺬﻱ ﻳﻬﺪﻑ ﺇﻟﻰ ﺗﺤﻘﻴﻖ ﺍﻟﻬﺪﻑ‬

‫ﺗﺠﺪﻳﺪﻭﺗﺜﻘﻴﻒ ﻭﺗﻌﺰﻳﺰ ﺛﻘﺎﻓﻴﺎ ﺟﻤﻬﻮﺭﻫﻢ‪ .‬ﺑﻴﻨﻤﺎ ﻳﺸﺎﺭﻙ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻪ‬

‫ﺍﻟﻌﺪﻳﺪﻣﻦ ﻧﻔﺲ ﺃﻫﺪﺍﻑ ﺍﻟﻤﺘﺤﻒ ‪ -‬ﺗﺤﻔﻴﺰ ﺍﻟﻔﻜﺮ ﻭﻛﺬﻟﻚ ﺍﻟﺘﺜﻘﻴﻒ ﻭﺍﻹﻋﻼﻡ ﻭﺍﻟﺘﺮﻭﻳﺞ‬

‫ﺗﻌﺰﻳﺰﺟﻤﻬﻮﺭﻫﺎ ﺛﻘﺎﻓﻴﺎً ‪ -‬ﺃﻋﺘﻘﺪ ﺃﻧﻬﺎ ﺗﻌﻤﻞ ﻓﻲ ﻣﻌﺎﺭﺿﺔ ﻣﺒﺎﺷﺮﺓ ﻟﻔﻜﺮﺓ ﺍﻟﺜﻘﺎﻓﻲ‬

‫ﻣﺆﺳﺴﺔ‪.‬ﻣﻦ ﺧﻼﻝ ﺗﻘﺪﻳﻢ ﺗﺠﺮﺑﺔ ﻣﺸﺎﻫﺪﺓ ﻓﻮﺭﻳﺔ ﻻ ﺗﻘﻞ ﺃﻫﻤﻴﺔ ﻋﻤﺎ ﻫﻲ ﻋﻠﻴﻪ ﺍﻵﻥ‬

‫ﻣﻌﺮﻭﺿﺎًﻓﻲ ﺍﻟﻤﺘﺤﻒ‪ ،‬ﺗﻘﺪﻡ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺳﻴﺎﻗﺎً ﻭﺍﻗﻌﻴﺎً ﻭﻏﻴﺮ ﻣﻨﺴﻖ‪ ،‬ﺑﻞ ﻫﻮ ﺃﻛﺜﺮ ﻣﻦ ﺫﻟﻚ‬

‫ﻳﻤﺜﻞﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﻲ ﻧﻌﺎﻟﺞ ﺑﻬﺎ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﺑﺸﻜﻞ ﻃﺒﻴﻌﻲ‪ ،‬ﻭﻫﻲ ﺃﻛﺜﺮ ﺩﻗﺔ‬

‫ﺍﻧﻌﻜﺎﺱﺍﻟﻌﺎﻟﻢ‪ ،‬ﻋﺎﻟﻤﻨﺎ‪.‬‬

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‫ﻣﻠﺨﺺﻭﺍﺳﺘﻨﺘﺎﺟﺎﺕ‬

‫ﻋﻠﻰﻣﺮ ﺍﻟﺴﻨﻴﻦ‪ ،‬ﺗﻄﻮﺭﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻣﻦ ﺣﻴﺚ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻜﻞ ﻭﻛﺬﻟﻚ ﺍﻟﻐﺮﺽ‪ .‬ﻟﻢ ﻳﻌﺪ ﺣﻮﻝ‬

‫ﻣﺠﺮﺩﻭﺿﻊ ﻋﻼﻣﺔ ﻋﻠﻰ ﺍﻻﺳﻢ‪ ،‬ﻓﺈﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻳﺪﻭﺭ ﺣﻮﻝ ﺍﻟﻨﺸﺎﻁ ﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ‪ .‬ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﻟﻤﻌﻨﻰ‪ ،‬ﻫﺬﻩ ﺍﻟﻨﻘﻄﺔ ﻭ‬

‫ﺍﻟﻐﺮﺽﻣﻦ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻳﻤﺜﻞ ﺭﻏﺒﺘﻨﺎ ﻓﻲ ﺍﻟﺘﻮﺍﺻﻞ ﻣﻊ ﺑﻌﻀﻨﺎ ﺍﻟﺒﻌﺾ‬

‫ﻧﻌﺒﺮﻋﻦ ﺃﻧﻔﺴﻨﺎ‪ .‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﻟﺪﻳﻬﻢ ﺩﻭﺍﻓﻊ ﻣﺘﻨﻮﻋﺔ ﻭﺭﺍء ﻣﺎ ﻳﺪﻓﻊ ﻋﻤﻠﻬﻢ‪،‬‬

‫ﻳﻤﻴﻞﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺇﻟﻰ ﺣﻤﻞ ﺭﺳﺎﺉﻞ ﻗﻮﻳﺔ ﻭﻣﺘﻤﺮﺩﺓ ﻟﻠﻨﺸﺎﻁ‪ .‬ﻓﻲ ﺍﻟﻬﻴﺐ ﻫﻮﺏ ﺗﻮﻧﻲ ﺳﻴﻠﻔﺮ‬

‫ﻭﺛﺎﺉﻘﻲ‪،‬ﺣﺮﻭﺏ ﺳﺘﺎﻳﻞ‪,‬ﻛﺎﺗﺐ ﺷﺎﺏ ﻳﻜﺸﻒ ﻟﻮﺍﻟﺪﺗﻪ ﺃﻧﻪ ﻳﺮﻳﺪ ﻓﻘﻂ “ﺍﻟﻘﺼﻒ”‬

‫ﻳﺘﺪﺭﺏﻭﻻ ﻳﻬﺘﻢ ﺑﺎﻵﺧﺮﻳﻦ‪ .‬ﻟﻘﺪ ﺗﺤﻮﻝ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﺑﻌﻴﺪﺍً ﻋﻦ ﻫﺬﺍ‬

‫ﻫﻮﺍﻟﻬﺪﻑ ﻣﻦ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﺍﻟﺬﻱ ﻳﺠﺐ ﻓﻬﻤﻪ‪ ،‬ﻭ‪:‬‬

‫ﻳﺪﻋﻮﺍﻷﺷﺨﺎﺹ ﺇﻟﻰ ﺗﻌﻠﻴﻖ ﻣﻮﺿﻊ ﻛﺎﺉﻨﻬﻢ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺍﻷﻗﻞ ﺗﻌﺪﻳﻠﻪ‪] .‬ﻣﻦ ﺧﻼﻝ‬

‫[ ﺍﺳﺘﺼﻼﺡ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ‪ ،‬ﻛﺘﺪﻣﻴﺮ ﺧﻼﻕ‪ ،‬ﺣﻴﺚ ﻳﺘﻢ ﺫﻟﻚ ﺑﺸﻜﻞ ﺧﺎﻃﺊ‬

‫ﻳﺘﻢﺇﺭﺟﺎﻉ ﺍﻟﻤﺴﺎﺣﺔ ﺍﻟﻤﺨﺼﺨﺼﺔ ﺇﻟﻰ ﺃﺻﺤﺎﺑﻬﺎ ﺍﻟﺸﺮﻋﻴﻴﻦ‪ .‬ﺗﺼﺒﺢ ﺍﻟﺒﻴﺉﺔ ﺍﻟﻤﺒﻨﻴﺔ‬

‫ﻟﻮﺣﺔﻗﻤﺎﺷﻴﺔ‪ ،‬ﻭﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻜﻮﻥ ﻃﺮﺳﺎً‪ ،‬ﺑﻤﻌﻨﻰ ﺃﻧﻪ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ ﺍﻷﺻﻞ ﻣﻮﺟﻮﺩ‬

‫ﺗﻤﺖﺍﻟﻜﺘﺎﺑﺔ ﻓﻮﻗﻪ‪ ،‬ﻭﺑﻘﻴﺖ ﺁﺛﺎﺭ ﻣﻨﻪ‪ ،‬ﻭﺍﺳﺘﻌﺎﺩﺓ ﺍﻟﺨﺼﻮﺻﻴﺔ ﻟﻠﻌﺎﻣﺔ‪ ،‬ﻭﺍﻟﺘﻔﺎﻋﻞ ﺣﺘﻰ ﺍﻵﻥ‬

‫ﺍﻟﻤﺎﺭﺓﺍﻟﺴﻠﺒﻴﻴﻦ‪ ،‬ﻣﻤﺎ ﻳﺤﻔﺰﻫﻢ ﻋﻠﻰ ﺍﻟﺘﻔﺎﻋﻞ ﺍﻟﻨﺸﻂ‪) .‬ﻓﻴﺴﻜﻮﻧﺘﻲ ﻭﺁﺧﺮﻭﻥ ‪-514‬‬

‫‪(15‬‬

‫ﻛﺼﻮﺕﻟﻠﻤﺸﺎﺭﻛﺔ ﻭﺍﻟﻨﺸﺎﻁ‪ ،‬ﻳﻌﺎﻟﺞ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻟﻔﺠﻮﺓ ﻭﻳﺨﻠﻖ ﺍﻟﺤﻮﺍﺭ ﻭﺍﻟﺤﻮﺍﺭ‬

‫ﺍﻟﻤﻌﺎﻣﻼﺕﺑﻴﻦ ﺍﻟﻨﺎﺱ ﻭﺍﻫﺘﻤﺎﻣﺎﺗﻬﻢ ﻭﺑﻴﺉﺎﺗﻬﻢ‪ .‬ﻭﻫﻮ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻤﺴﺘﻮﻯ ﻣﻦ ﺍﻟﻤﺸﺎﺭﻛﺔ‬

‫ﺃﻥﻳﺘﻢ ﺟﺬﺏ ﺍﻟﻤﺸﺎﻫﺪﻳﻦ ﻛﻤﺸﺎﺭﻛﻴﻦ ﻧﺸﻄﻴﻦ ﻳﺘﻢ ﻣﻦ ﺧﻼﻟﻪ ﺗﺤﻘﻴﻖ ﺍﻟﺨﻄﺎﺏ‪ ،‬ﻭ‬

‫ﻳﺘﻢﺍﻟﺘﺤﺮﻳﺾ ﻋﻠﻰ ﺍﻟﻌﻤﻞ ﻛﻮﺳﻴﻠﺔ ﻟﺘﺤﻘﻴﻖ ﻧﻮﻉ ﻣﻦ ﺍﻟﻨﺘﺎﺉﺞ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻣﻦ ﺧﻼﻝ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‬

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 ‫ﻳﺘﻢﺇﻧﺸﺎء ﺍﻻﺗﺼﺎﻻﺕ ﺑﻴﻦ ﺳﻜﺎﻥ ﺍﻟﻤﺪﻳﻨﺔ‪ ،‬ﻭﻟﻢ ﻳﻌﺪ ﺍﻟﻤﺎﺭﺓ ﻣﻨﻔﺼﻠﻴﻦ‬

‫ﺩﻭﻥﺍﻟﺸﻌﻮﺭ ﺑﺎﻻﻧﺘﻤﺎء‪ ،‬ﻭﻳﺘﻨﻘﻠﻮﻥ ﻋﺒﺮ ﻣﺪﻳﻨﺘﻬﻢ ﺩﻭﻥ ﺍﺳﺘﻬﻼﻙ ﺫﻱ ﻣﻌﻨﻰ‪.‬‬

‫ﻭﻳﺸﺎﺭﺇﻟﻰ ﻫﺬﺍ ﺑﺎﺳﻢ ﺩﻳﻤﻘﺮﺍﻃﻴﺔ ﺍﻟﺸﻮﺍﺭﻉ‪ ،‬ﻭﻳﻨﻘﻞ ﻓﻜﺮﺓ ﺃﻥ ﻫﻨﺎﻙ ﺇﺣﺴﺎﺳﺎً ﺑﻬﺎ‬

‫ﺍﻟﻮﺍﺟﺐﺍﻟﻤﻤﻨﻮﺡ ﻟﻠﻤﻮﺍﻃﻨﻴﻦ‪ .‬ﻭﻫﺬﺍ ﺃﻣﺮ ﻣﻬﻢ ﻷﻥ ﻓﻨﺎﻧﻲ ﺍﻟﺸﻮﺍﺭﻉ ﻳﺨﻠﻘﻮﻥ ﺩﻳﻤﻘﺮﺍﻃﻴﺘﻬﻢ ﺍﻟﺨﺎﺻﺔ‬

‫ﻭﺿﻊﻭﺗﺤﻤﻞ ﺍﻟﺤﻖ ﻓﻲ ﺍﺳﺘﻬﻼﻙ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ ﻣﻦ ﺧﻼﻝ ﻭﺳﺎﺉﻠﻬﻢ ﺍﻟﺨﺎﺻﺔ ﻭﺑﻄﺮﻳﻘﺘﻬﻢ ﺍﻟﺨﺎﺻﺔ‬

‫ﺷﺮﻭﻁ‪.‬ﻣﻦ ﺧﻼﻝ ﺇﻋﺎﺩﺓ ﺗﻌﺮﻳﻒ ﺍﻟﻔﻀﺎء ﺍﻟﻌﺎﻡ ﻛﻤﺎ ﻟﻮ ﻛﺎﻥ ﻣﻠﻜﺎً ﻟﻬﻢ‪ ،‬ﻳﺴﺎﻫﻢ ﻓﻨﺎﻧﻮ ﺍﻟﺸﻮﺍﺭﻉ ﻓﻲ ﺍﻟﻤﺠﻤﻮﻋﺔ‬

‫ﺟﻴﺪﺓﻭﺩﻋﻮﺓ ﻟﻠﻤﺸﺎﺭﻛﺔ ﻣﻦ ﺟﻤﻬﻮﺭﻫﻢ‪ .‬ﻳﺘﻢ ﺇﻧﺸﺎء ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻤﻘﺎﻭﻣﺔ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭ‬

‫ﺗﻢﺳﻦ ﺍﻟﻨﺸﺎﻁ‪ .‬ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻔﻦ ﻓﻲ ﺃﻣﺎﻛﻦ ﻏﻴﺮ ﻣﺮﻏﻮﺏ ﻓﻴﻬﺎ‪ ،‬ﻳﻜﻮﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻗﺎﺩﺭﺍً ﻋﻠﻰ ﺍﻹﺛﺎﺭﺓ‬

‫ﺍﻟﺘﻔﻜﻴﺮﻭﺍﻟﻌﻤﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﻟﺬﻱ ﻳﻤﻜﻦ ﻟﻠﻔﻨﺎﻧﻴﻦ ﻭﺍﻟﺸﺨﺺ ﺍﻟﻌﺎﺩﻱ ﺃﻥ ﻳﻨﺘﺠﻮﺍ ﻓﻴﻪ ﺑﺸﻜﻞ ﺟﻤﺎﻋﻲ‬

‫ﺍﻟﻤﺸﺎﻋﺎﺕﺍﻟﺒﺼﺮﻳﺔ ﺍﻟﺘﻲ ﺗﺪﻋﻮ ﺇﻟﻰ ﻣﺸﺎﺭﻛﺔ ﺍﻟﺠﻤﻴﻊ‪ .‬ﻳﻠﻌﺐ ﻓﻨﺎﻧﻮ ﺍﻟﺸﻮﺍﺭﻉ ﺩﻭﺭ ﺍﻟﻤﻨﺴﻖ ﻓﻲ ﺃﻋﻤﺎﻟﻬﻢ‬

‫ﺍﻟﻤﻨﺎﻇﺮﺍﻟﻄﺒﻴﻌﻴﺔ ﺍﻟﺤﻀﺮﻳﺔ‪ ،‬ﻭﺑﺎﻟﺘﺎﻟﻲ ﺗﻜﻮﻥ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﻟﺘﺤﺎﻳﻞ ﻋﻠﻰ ﺍﻟﻘﻴﻮﺩ ﺍﻟﺘﻲ ﺗﻔﺮﺿﻬﺎ ﺍﻟﻘﻮﺍﻧﻴﻦ ﻭ‬

‫ﺗﻨﻈﻴﻢﺍﻟﺤﻜﻮﻣﺔ ﻭﺍﻟﻌﺎﻟﻢ ﺍﻟﺘﺠﺎﺭﻱ‪ .‬ﻭﻫﺬﺍ ﻳﺨﻠﻖ ﻋﻼﻗﺎﺕ ﺃﻛﺒﺮ‬

‫‪-‬ﺍﻟﺘﺮﺍﺑﻂ ﺑﻴﻦ ﺳﻜﺎﻥ ﺍﻟﻤﺪﻳﻨﺔ ﻭﺑﻴﺉﺘﻬﻢ‪.‬‬

‫ﻭﻣﻦﺧﻼﻝ ﻫﺬﺍ ﺍﻟﺘﺤﻘﻴﻖ ﺗﻮﺻﻠﺖ ﺇﻟﻰ ﻧﺘﻴﺠﺔ ﻣﻔﺎﺩﻫﺎ ﺃﻧﻪ ﺧﻼﻝ ﺍﻟﻌﺸﺮﻳﻦ ﻋﺎﻣﺎً ﺍﻟﻤﺎﺿﻴﺔ‬

‫ﻟﻘﺪﺗﻄﻮﺭ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﺒﺴﻴﻄﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺇﻟﻰ ﺣﺮﻛﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﻓﻨﻴﺔ‪.‬‬

‫ﻧﻈﺮﺍًﻟﺘﻐﻠﻴﻒ ﺍﻟﻌﺎﻟﻢ ﺑﺄﺷﻜﺎﻟﻪ ﺍﻟﻤﺘﻌﺪﺩﺓ‪ ،‬ﺃﻋﺘﻘﺪ ﺃﻥ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻟﺪﻳﻪ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺗﺤﻘﻴﻖ ﺍﻟﻔﻌﺎﻟﻴﺔ‬

‫ﺇﻳﺼﺎﻝﺭﺳﺎﺉﻞ ﺇﻟﻰ ﺍﻟﺠﻤﻬﻮﺭ ﺗﻜﻮﻥ ﻓﻲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﺠﻤﻴﻊ‪ .‬ﻳﻌﻤﻞ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻛﺄﺩﺍﺓ‬

‫ﻟﻼﺣﺘﺠﺎﺝﻭﺍﻟﺪﻋﻮﺓ ﻭﻛﺬﻟﻚ ﺍﻧﻌﻜﺎﺱ ﺣﻘﻴﻘﻲ ﻟﻠﻮﺟﻮﺩ ﺍﻹﻧﺴﺎﻧﻲ‪ .‬ﻛﻤﺎ ﻫﻮ ﻣﻮﺿﺢ ﺏ‬

‫ﺍﻟﺤﺮﻛﺎﺕﺍﻟﺘﻲ ﺗﺠﺮﻱ ﻓﻲ ﺍﻟﺒﺮﺍﺯﻳﻞ ﻭﻣﺼﺮ‪ ،‬ﻓﻤﻦ ﺭﺃﻳﻲ ﺃﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﺗﻮﻓﻴﺮﻭﺳﻴﻠﺔ ﺣﻴﻮﻳﺔ ﻟﻠﺘﻌﺒﻴﺮ ﻷﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ ﻟﻴﺲ ﻟﺪﻳﻬﻢ ﺻﻮﺕ‪ .‬ﻓﻲ ﺍﻟﻤﺴﺘﻘﺒﻞ‪ ،‬ﺳﻮﻑ ﻳﻜﻮﻥ ﺷﻜﻞ ﺍﻟﻔﻦ‬

‫ﻣﻮﺍﺻﻠﺔﺍﻟﺘﻄﻮﺭ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ ﻟﻴﺲ ﻓﻘﻂ ﻓﻲ ﺍﻟﻤﺠﺎﻝ ﺍﻟﺘﺠﺎﺭﻱ‪ ،‬ﻭﻟﻜﻦ ﺃﻳﻀﺎً ﻓﻲ ﻧﻈﺮ ﺍﻟﻌﺎﻟﻢ‬

‫ﺍﻟﺠﻤﻬﻮﺭﻷﻧﻪ ﻳﺼﺒﺢ ﺃﻛﺜﺮ ﺇﺩﺭﺍﻛﺎً ﻟﻠﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻛﻮﺳﻴﻠﺔ ﻗﻮﻳﺔ ﻟﻠﺘﻌﺒﻴﺮ ﻣﻊ‬

‫ﺍﻟﻘﺪﺭﺓﻋﻠﻰ ﺇﺣﺪﺍﺙ ﺍﻟﺘﻐﻴﻴﺮ ﺍﻻﺟﺘﻤﺎﻋﻲ‪.‬‬

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 ‫ﻓﻲﺣﻴﻦ ﻗﺪ ﻳﺠﺎﺩﻝ ﺍﻟﻜﺜﻴﺮﻭﻥ ﺑﺄﻥ ﺗﻌﻤﻴﻢ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻳﻀﻌﻒ ﺭﺳﺎﻟﺘﻪ‪ ،‬ﺇﻻ ﺃﻥ ‪I‬‬

‫ﺃﻋﺘﻘﺪﺃﻥ ﺗﺴﻮﻳﻖ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻗﺪ ﺳﺎﻫﻢ ﻓﻲ ﻗﻮﺗﻪ‪ .‬ﺩﻭﻥ ﺍﻻﻋﺘﺮﺍﻑ‬

‫ﻣﻦﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻷﻣﺮﻳﻜﻴﺔ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻦ ﻗﺒﻞ ﻋﺎﻟﻢ ﺍﻟﻔﻦ ﻭﺻﺎﻻﺕ ﺍﻟﻌﺮﺽ ﺍﻟﺨﺎﺻﺔ ﺑﻪ ﻓﻲ ﺃﻭﺍﺉﻞ ﺍﻟﺜﻤﺎﻧﻴﻨﺎﺕ‪،‬‬

‫ﺭﺑﻤﺎﻟﻢ ﺗﻨﺘﺸﺮ ﺍﻟﻈﺎﻫﺮﺓ ﺣﻮﻝ ﺍﻟﻌﺎﻟﻢ ﺑﻨﻔﺲ ﺍﻟﺘﺄﺛﻴﺮ‪ .‬ﺃﻋﺘﻘﺪ ﺃﻥ ﺍﻟﻤﺎء‪-‬‬

‫ﺗﺴﻤﺢﻟﻬﻢ ﺃﺷﻜﺎﻝ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﺘﻲ ﺗﻘﺼﻒ ﺍﻟﺠﻤﻬﻮﺭ ﻣﻦ ﺧﻼﻝ ﺍﻹﻋﻼﻧﺎﺕ ﺑﺬﻟﻚ‬

‫ﺃﻥﻳﻜﻮﻧﻮﺍ ﺃﻛﺜﺮ ﺗﻘﺒﻼ ًﻟﻠﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻓﻲ ﺃﻧﻘﻰ ﺻﻮﺭﻩ‪ .‬ﺭﺅﻳﺔ ﺍﻟﺸﻜﻞ ﺍﻟﻔﻨﻲ ﻣﻤﺜﻼ ًﻛﺠﺰء ﻣﻦ‬

‫ﺍﻟﺤﻴﺎﺓﺍﻟﻴﻮﻣﻴﺔ ﻣﻦ ﺧﻼﻝ ﺍﻷﺯﻳﺎء ﻭﻣﻌﺎﺭﺽ ﺍﻟﻤﺘﺎﺣﻒ ﻭﺍﻷﻟﻌﺎﺏ ﻭﺍﻟﺘﺼﻤﻴﻢ‪ ،‬ﺃﺻﺒﺢ ﺍﻟﻤﺸﺎﻫﺪﻭﻥ ﺃﻗﻞ ﺗﻬﺪﻳﺪﺍً‬

‫ﻣﻦﺧﻼﻝ ﺍﻷﻋﻤﺎﻝ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻬﺎ ﺍﻟﺘﻲ ﻳﺮﻭﻧﻬﺎ ﻓﻲ ﺍﻟﺸﻮﺍﺭﻉ‪ .‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﻣﻌﻈﻤﻨﺎ ﻳﺪﺭﻙ ﺣﻘﻴﻘﺔ ﺫﻟﻚ‬

‫ﻋﺎﺩﺓﻣﺎ ﻳﻜﻮﻥ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺍﻟﺬﻱ ﻳﻐﻄﻲ ﺟﺪﺭﺍﻥ ﻣﺪﻧﻨﺎ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻲ‪ ،‬ﻭﻣﺎ ﺯﻟﻨﺎ ﻣﻀﻄﺮﻳﻦ ﺇﻟﻰ ﺭﻓﻊ ﺃﻋﻴﻨﻨﺎ‬

‫ﻭﻓﺤﺺﻣﺎ ﻧﺮﺍﻩ‪ .‬ﻭﻣﻦ ﺧﻼﻝ ﻓﺤﺺ ﺍﻟﺠﺪﺍﺭﻳﺎﺕ ﺍﻟﺤﺪﻳﺜﺔ‪ ،‬ﻻﺣﻈﺖ ﺫﻟﻚ ﺃﺛﻨﺎء ﺍﻟﻨﻬﺎﻳﺔ‬

‫ﻭﺑﻘﻲﺍﻟﺤﺎﻝ ﻋﻠﻰ ﺣﺎﻟﻪ‪ ،‬ﻭﺗﻐﻴﺮﺕ ﺍﻟﻮﺳﺎﺉﻞ‪ .‬ﺇﻥ ﺍﻟﺤﺎﺟﺔ ﺇﻟﻰ ﺍﻟﺘﻐﻴﻴﺮ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻫﻲ ﺍﻟﺘﻲ ﺃﺩﺕ ﺇﻟﻰ ﺫﻟﻚ‬

‫ﺷﻜﻞﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻦ ﻛﺄﺩﺍﺓ‪ ،‬ﻳﺘﻢ ﺗﻨﻔﻴﺬﻩ ﻛﻔﻦ ﺍﺣﺘﺠﺎﺟﻲ ﻋﺎﻡ‪ .‬ﺳﻮﺍء ﻋﺮﻑ ﺍﻟﻤﺸﺎﻫﺪ ﺃﻡ ﻻ‬

‫ﺍﻟﺠﺪﺍﺭﺓﺍﻟﻔﻨﻴﺔ‪ ،‬ﻓﺎﻟﺮﺳﺎﺉﻞ ﺍﻟﻤﻘﺪﻣﺔ ﻋﺎﻟﻴﺔ ﺟﺪﺍً ﺑﺤﻴﺚ ﻻ ﻳﻤﻜﻦ ﺗﺠﺎﻫﻠﻬﺎ‪.‬‬

‫ﻟﻴﺲﻓﻲ ﻧﻴﺘﻲ ﺃﻥ ﺃﺩﺍﻓﻊ ﻋﻦ ﺗﺸﺮﻳﻊ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﻭﻟﻜﻦ‪،‬‬

‫ﻭﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ‪ ،‬ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﺪﺭﻙ ﺃﻥ ﺍﻟﻄﺒﻴﻌﺔ ﻏﻴﺮ ﺍﻟﻤﺼﺮﺡ ﺑﻬﺎ ﻟﻬﺬﻩ ﺍﻷﻋﻤﺎﻝ ‪ -‬ﻭﻋﺪﻡ ﺍﻟﻜﺸﻒ ﻋﻦ ﻫﻮﻳﺘﻬﺎ ‪ -‬ﻫﻲ ﺍﻟﺘﻲ‬

‫ﺍﻟﻤﺴﺎﻫﻤﺔﻓﻲ ﺳﻠﻄﺘﻬﺎ ﺫﺍﺗﻬﺎ‪ .‬ﺍﻟﻔﻨﺎﻧﻮﻥ ﻗﺎﺩﺭﻭﻥ ﻋﻠﻰ ﺗﻮﺻﻴﻞ ﺍﻟﺮﺳﺎﺉﻞ ﺍﻟﺘﻲ ﺗﻨﻘﻠﻬﺎ ﻣﺒﺎﺷﺮﺓ‬

‫ﺣﻘﺎﺉﻖﻏﻴﺮ ﺧﺎﺿﻌﺔ ﻟﻠﺮﻗﺎﺑﺔ‪ .‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻫﻮ ﺷﻌﺮ ﻋﺼﺮﻧﺎ‪ .‬ﺇﻧﻪ ﻳﻮﺿﺢ ﺍﻟﻤﻨﺎﺥ ﺍﻟﺜﻘﺎﻓﻲ ﻟﺪﻳﻨﺎ‬

‫ﺍﻟﻤﺪﻥﻣﻦ ﺧﻼﻝ ﺗﻘﺪﻳﻢ ﺗﻌﻠﻴﻘﺎﺕ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﺳﻴﺎﺳﻴﺔ ﺗﺘﺤﺪﺙ ﻋﻦ ﺣﻴﺎﺗﻨﺎ ﺍﻟﻴﻮﻣﻴﺔ ﻭﺗﺠﺒﺮﻧﺎ ﻋﻠﻰ ﺫﻟﻚ‬

‫ﺃﻥﻧﺼﺒﺢ ﻋﻠﻰ ﻭﻋﻲ ﺗﺎﻡ ﺑﻤﺎ ﻳﺤﻴﻂ ﺑﻨﺎ‪ .‬ﺑﻴﻨﻤﺎ ﻗﺪ ﻻ ﻳﺄﺗﻲ ﻳﻮﻡ ﺫﻟﻚ ﺍﻟﺸﺎﺭﻉ ﺃﺑﺪﺍً‬

‫ﻳﻌﺘﺒﺮﺍﻟﻔﻦ ﻗﺎﻧﻮﻧﻴﺎ‪ ،‬ﻭﻳﻄﻠﺐ ﻣﻨﺎ ﺑﺎﻧﻜﺴﻲ‪:‬‬

‫ﺗﺨﻴﻞﻣﺪﻳﻨﺔ ﺣﻴﺚ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻟﻢ ﺗﻜﻦ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻴﺔ‪ ،‬ﻣﺪﻳﻨﺔ ﺣﻴﺚ ﻳﺮﺳﻢ ﺍﻟﺠﻤﻴﻊ ﺃﻱ ﺷﻲء‬

‫ﻟﻘﺪﺃﺣﺒﻮﺍ‪ .‬ﺣﻴﺚ ﻛﺎﻥ ﻛﻞ ﺷﺎﺭﻉ ﻣﻠﻴﺉﺎً ﺑﻤﻠﻴﻮﻥ ﻟﻮﻥ ﻭﻋﺒﺎﺭﺍﺕ ﺻﻐﻴﺮﺓ‪.‬‬

‫ﺣﻴﺚﻟﻢ ﻳﻜﻦ ﺍﻟﻮﻗﻮﻑ ﻓﻲ ﻣﺤﻄﺔ ﺍﻟﺤﺎﻓﻼﺕ ﻣﻤﻼً ﺃﺑﺪﺍً‪ .‬ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﺘﻲ ﺷﻌﺮﺕ ﻭﻛﺄﻧﻬﺎ ﺣﻔﻠﺔ ﻓﻴﻬﺎ‬

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 ‫ﺗﻤﺖﺩﻋﻮﺓ ﺍﻟﺠﻤﻴﻊ‪ ،‬ﻭﻟﻴﺲ ﻓﻘﻂ ﻭﻛﻼء ﺍﻟﻌﻘﺎﺭﺍﺕ ﻭﺃﺑﺎﻃﺮﺓ ﺍﻟﺸﺮﻛﺎﺕ ﺍﻟﻜﺒﺮﻯ‪.‬‬

‫ﺗﺨﻴﻞﻣﺪﻳﻨﺔ ﻛﻬﺬﻩ ﻭﺗﻮﻗﻒ ﻋﻦ ﺍﻻﺗﻜﺎء ﻋﻠﻰ ﺍﻟﺤﺎﺉﻂ‪ ،‬ﺇﻧﻬﺎ ﺭﻃﺒﺔ‪) .‬ﺑﺎﻧﻜﺴﻲ ‪(85‬‬

‫ﻣﺎﺑﺪﺃ ﺑﻌﻼﻣﺔ ﺑﺴﻴﻄﺔ ‪ -‬ﻣﺠﺮﺩ ﺍﺳﻢ ‪ -‬ﻭﻋﻼﻣﺔ‪ ،‬ﺗﻄﻮﺭ ﺇﻟﻰ‬

‫ﻇﺎﻫﺮﺓﻋﺎﻟﻤﻴﺔ ﺗﻨﻘﻞ ﻟﻨﺎ ﺭﺳﺎﻟﺔ ﻣﻨﺎﺻﺮﺓ ﻏﻴﺮ ﺧﺎﺿﻌﺔ ﻟﻠﺮﻗﺎﺑﺔ‪،‬‬

‫ﺍﻹﻧﺴﺎﻧﻴﺔ‪،‬ﻭﺍﻟﺤﺮﻳﺔ‪ .‬ﻳﻌﻤﻞ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺍﻧﻌﻜﺎﺳﺎً ﻟﻮﺟﻮﺩﻧﺎ ﺫﺍﺗﻪ‪ ،‬ﻭﻳﺴﺘﻤﺮ‬

‫ﻟﻠﺘﺤﺪﺙﺇﻟﻴﻨﺎ ﺑﻄﺮﻕ ﻳﻤﻜﻨﻨﺎ ﺟﻤﻴﻌﺎً ﻓﻬﻤﻬﺎ ﻋﻠﻰ ﻣﺎ ﻳﺒﺪﻭ‪ .‬ﻳﺠﺒﺮﻧﺎ ﻋﻠﻰ ﺍﻻﻫﺘﻤﺎﻡ‪ ،‬ﻭ‬

‫ﺍﻟﻌﺮﻭﺽﺍﻟﺮﺳﻮﻣﻴﺔ ﻟﻠﺘﻌﺒﻴﺮ ﺍﻟﻔﻨﻲ ﻭﺍﻟﺘﺨﺮﻳﺐ ﺗﺼﺮﺥ ﺑﻨﺎ ﻟﻨﺘﻮﻗﻒ ﻭﻧﻨﻈﺮ ﻭ‬

‫ﺍﻟﺘﻔﻜﻴﺮﻓﻲ ﺑﻴﺉﺎﺗﻨﺎ ﻭﺗﺨﺼﻴﺺ ﻣﻌﻨﻰ ﻟﻤﺎ ﻧﺮﺍﻩ‪.‬‬

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 ‫ﻓﻬﺮﺱ‬

‫ﻫﺎﺑﻴﻞ‪،‬ﺇﺭﻧﺴﺖ ‪ .L‬ﻭﺑﺎﺭﺑﺮﺍ ‪ .E‬ﺑﺎﻛﻠﻲ‪.‬ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﻴﺪﻭﻳﺔ ﻋﻠﻰ ﺍﻟﺤﺎﺉﻂ‪ :‬ﻧﺤﻮ ﺃ‬

‫ﻋﻠﻢﺍﻻﺟﺘﻤﺎﻉ ﻭﻋﻠﻢ ﺍﻟﻨﻔﺲ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .‬ﻛﻮﻧﻴﺘﻴﻜﺖ‪ :‬ﻏﺮﻳﻨﻮﻭﺩ‪.1977 ،‬‬

‫"ﺍﻟﻔﻨﺎﻧﻮﻥ ﻳﺴﺘﺨﺪﻣﻮﻥ ﺍﻟﺠﺮﺍﻓﻴﺘﻲ ﻟﺮﻭﺍﻳﺔ ﻗﺼﺺ ﺍﻟﺜﻮﺭﺓ ﺍﻟﻤﺼﺮﻳﺔ‪ ".‬ﺭﺍﻭﻳﺔ ﺭﺍﺟﺢ‪ .‬ﺍﻟﺠﺰﻳﺮﺓ‬

‫ﺍﻹﻧﺠﻠﻴﺰﻳﺔ‪،‬ﺍﻟﻘﺎﻫﺮﺓ‪ 27 .‬ﻓﺒﺮﺍﻳﺮ ‪.2012‬‬

‫ﺑﻴﻜﺮ‪،‬ﻟﻴﻨﺪﺳﺎﻱ‪" .‬ﺑﺎﻧﻜﺴﻲ‪ :‬ﺧﺎﺭﺝ ﺍﻟﺤﺎﺉﻂ ‪ -‬ﺗﻠﻐﺮﺍﻑ‪،".‬ﺍﻟﺘﻠﻐﺮﺍﻑ ﻋﻠﻰ ﺍﻹﻧﺘﺮﻧﺖ ‪Telegraph.co.uk -‬‬

‫ﺩﻳﻠﻲﺗﻠﻐﺮﺍﻑ ﻭﺻﻨﺪﺍﻱ ﺗﻠﻐﺮﺍﻑ ‪ -‬ﺗﻠﻐﺮﺍﻑ‪ 28 .‬ﻣﺎﺭﺱ ‪ .2008‬ﺍﻟﻮﻳﺐ‪ 14 .‬ﻧﻮﻓﻤﺒﺮ‬

‫‪.2011‬‬

‫‪>http://www.telegraph.co.uk/culture/art/3672135/Banksy-off-the-wall.html<.‬‬

‫ﺑﺎﻧﻜﺴﻲ‪،‬ﺭﻭﺑﻦ‪.‬ﺑﺎﻧﺴﻜﻲ‪ :‬ﺍﻟﺠﺪﺍﺭ ﻭﺍﻟﻘﻄﻌﺔ‪ .‬ﻟﻨﺪﻥ‪ :‬ﻣﺠﻤﻮﻋﺔ ﺭﺍﻧﺪﻭﻡ ﻫﺎﻭﺱ ﺍﻟﻤﺤﺪﻭﺩﺓ‪.2005 ،‬‬

‫ﻣﻄﺒﻌﺔ‪.‬‬

‫"ﻣﻔﺎﺭﻗﺔ ﺑﺎﻧﻜﺴﻲ‪ 7 :‬ﺟﻮﺍﻧﺐ ﻣﻦ ﻓﻨﺎﻥ ﺍﻟﺸﺎﺭﻉ ﺍﻷﻛﺜﺮ ﺷﻬﺮﺓ ﻓﻲ ﺍﻟﻌﺎﻟﻢ |‬

‫"‪WebUrbanist.‬ﻣﻦ ﺍﻟﻔﻦ ﺍﻟﺤﻀﺮﻱ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺛﻼﺛﻴﺔ ﺍﻷﺑﻌﺎﺩ ﺇﻟﻰ ﺍﻟﻤﻬﺠﻮﺭﺓ | ‪WebUrbanist‬‬

‫ﻣﺪﻥ‪ 19 .‬ﻳﻮﻟﻴﻮ ‪ .2007‬ﺍﻟﻮﻳﺐ‪ 20 .‬ﺃﻛﺘﻮﺑﺮ ‪.2011‬‬

‫‪>http://weburbanist.com/2007/07/19/banksy-paradox-unofficial-guide-to-‬‬

‫ﺍﻟﻔﻨﺎﻥﺍﻷﻛﺜﺮ ﺷﻬﺮﺓ ﻓﻲ ﺍﻟﻌﺎﻟﻢ ﻓﻲ ﺣﺮﺏ ﺍﻟﻌﺼﺎﺑﺎﺕ ﻓﻲ ﺍﻟﺸﻮﺍﺭﻉ ‪.</‬‬

‫ﺑﺎﺭﺛﻮﻟﻮﻣﻲ‪،‬ﻟﻴﻦ‪ ،‬ﻭﻓﻴﻠﻴﺐ ﺳﻨﺎﻳﺪﺭ‪" .‬ﻫﻞ ﻫﻲ ﻓﻠﺴﻔﺔ ﺃﻡ ﺇﺑﺎﺣﻴﺔ؟ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ‬

‫ﺩﻳﻨﺎﺻﻮﺭﺑﺎﺭ‪-‬ﺑﻲ‪-‬ﻛﻴﻮ‪".‬ﻣﺠﻠﺔ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻷﻣﺮﻳﻜﻴﺔ‪.86-98 :(2004) 27.1‬‬

‫ﺑﺮﻭﻳﺮ‪،‬ﺩﻳﻔﻮﻥ ﺩ‪.‬ﺗﻘﻴﻴﻢ ﻣﺆﻟﻔﻲ ﻛﺘﺎﺑﺎﺕ ﺍﻟﻬﻴﺐ ﻫﻮﺏ ﻻﺳﺘﺮﺍﺗﻴﺠﻴﺎﺕ ﻣﻜﺎﻓﺤﺔ ﺍﻷﻋﻤﺎﻝ ﻏﻴﺮ ﺍﻟﻘﺎﻧﻮﻧﻴﺔ‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .1992 .‬ﺍﻟﻤﻨﻈﻤﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ ‪.2‬‬

‫ﺑﺮﻳﺪﺝ‪،‬ﻏﺎﺭﻱ ﻭﺻﻮﻓﻲ ﻭﺍﺗﺴﻮﻥ‪ ،‬ﻣﺤﺮﺭﺍﻥ‪.‬ﺭﻓﻴﻖ ﻟﻠﻤﺪﻳﻨﺔ‪ ،‬ﺃﻛﺴﻔﻮﺭﺩ‪ :‬ﺑﻼﻛﻮﻳﻞ‪.‬‬

‫‪.2000‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﺑﺮﺍﻭﻥﺟﻠﻮﺩ‪ ،‬ﻭﻳﻨﻴﻔﺮﻳﺪ ﺭ‪" ،.‬ﺍﻻﻧﺘﺸﺎﺭ ﻛﺎﻟﻤﺮﺽ؟ ﺍﻷﻓﺎﺭﻗﺔ ﺍﻟﺠﺎﻣﺎﻳﻜﻴﻮﻥ ‪ Higglers‬ﻭ‬

‫‪58‬‬
 ‫ﺩﻳﻨﺎﻣﻴﺎﺕﺍﻟﻌﺮﻕ‪/‬ﺍﻟﻠﻮﻥ‪ ،‬ﺍﻟﻄﺒﻘﺔ ﻭﺍﻟﺠﻨﺲ‪ "،‬ﻓﻲﺗﺠﺎﺭﺏ ﻣﻌﻴﺸﻴﺔ ﻟﻠﻌﺎﻣﺔ‬

‫ﺍﻻﺳﺘﻬﻼﻙ‪:‬ﻣﻮﺍﺟﻬﺎﺕ ﺫﺍﺕ ﻗﻴﻤﺔ ﻓﻲ ﺍﻷﺳﻮﺍﻕ ﻓﻲ ﺧﻤﺲ ﻗﺎﺭﺍﺕ‪،‬ﺇﺩ‪.‬‬

‫ﺩﺍﻧﻴﺎﻝﻛﻮﻙ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪ :‬ﺑﺎﻟﺠﺮﻳﻒ ﻣﺎﻛﻤﻴﻼﻥ‪.36-111 .2008 ،‬‬

‫ﻛﺎﺳﻠﻤﺎﻥ‪،‬ﻛﺮﻳﺞ‪.‬ﺍﻻﺳﺘﻴﻘﺎﻅ‪ :‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﻣﺘﺮﻭ ﺍﻻﻧﻔﺎﻕ ﻓﻲ ﻧﻴﻮﻳﻮﺭﻙ‪ .‬ﻛﺎﻣﺒﺮﻳﺪﺝ‪ ،‬ﻣﺎﺳﺎﺷﻮﺳﺘﺲ ]ﻭﺍ‪:‬‬

‫ﻣﻌﻬﺪﻣﺎﺳﺎﺗﺸﻮﺳﺘﺲ ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ‪ .1999 ،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﺗﺸﺎﻓﻲ‪،‬ﻟﻴﻤﺎﻥ ﺝ‪.‬ﺍﻻﺣﺘﺠﺎﺝ ﺍﻟﺴﻴﺎﺳﻲ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ :‬ﺃﺩﻭﺍﺕ ﺷﻌﺒﻴﺔ ﻹﺭﺳﺎء ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴﺔ‬

‫ﻓﻲﺍﻟﺒﻠﺪﺍﻥ ﺍﻻﺳﺒﺎﻧﻴﺔ‪ .‬ﻭﻳﺴﺘﺒﻮﺭﺕ‪ :CT ،‬ﻏﺮﻳﻨﻮﻭﺩ‪ .1993 ،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫"ﺍﺳﺘﻬﻼﻙ ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ :‬ﺍﺳﺘﻌﺎﺩﺓ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ‪،".‬ﺃﺧﺒﺎﺭ ﺍﻟﻌﻠﻮﻡ ‪PhysOrg.com -‬‬

‫ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‪،‬ﺍﻟﻔﻴﺰﻳﺎء‪ ،‬ﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﻨﺎﻧﻮ‪ ،‬ﻋﻠﻮﻡ ﺍﻟﻔﻀﺎء‪ ،‬ﻋﻠﻮﻡ ﺍﻷﺭﺽ‪ ،‬ﺍﻟﻄﺐ‪.‬‬

‫ﺟﺎﻣﻌﺔﺷﻴﻜﺎﻏﻮ‪ 22 ،‬ﻣﺎﺭﺱ ‪ .2010‬ﺍﻟﻮﻳﺐ‪ 30 .‬ﻧﻮﻓﻤﺒﺮ ‪.2011‬‬

‫‪>http://www.physorg.com/news188499896.html<.‬‬

‫ﺍﺧﺮﺝﻋﺒﺮ ﻣﺤﻞ ﺍﻟﻬﺪﺍﻳﺎ‪ .‬ﺩﻳﺮ‪ .‬ﺑﺎﻧﻜﺴﻲ‪ .‬ﺍﻷﺩﺍء‪ .‬ﺑﺎﻧﻜﺴﻲ‪ ،‬ﺗﻴﻴﺮﻱ ﺟﻮﺗﺎ‪ ،‬ﺷﻴﺒﺮﺩ ﻓﻴﺮﻱ‪.‬‬

‫ﻣﺨﺘﺒﺮﺍﺕﺭﺍﺳﻢ ﺍﻟﺬﺑﺬﺑﺎﺕ‪.DVD .2010 ،‬‬

‫ﻓﻴﺮﺍﻧﺘﻲ‪،‬ﺟﻮﻟﻴﺎ‪ .‬ﺍﻷﺧﺒﺎﺭ‪" :‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ" ﻳﻮﻓﺮ ﻧﺼﺎً ﻟﻔﻬﻢ ﺍﻟﻤﺪﻥ ﻓﻲ‬

‫ﺍﻟﺘﺤﻮﻝ|| ﺟﺎﻣﻌﺔ ﺑﺎﻛﻨﻴﻞ‪".‬ﺃﺧﺒﺎﺭ ﺟﺎﻣﻌﺔ ﺑﺎﻛﻨﻴﻞ‪ 20 .‬ﻳﻨﺎﻳﺮ ‪.2011‬‬

‫ﻭﻳﺐ‪ 29.‬ﻧﻮﻓﻤﺒﺮ ‪.2011‬‬

‫‪>http://www.bucknell.edu/x66537.xml<.‬‬

‫ﻓﻴﺮﻳﻞ‪،‬ﺝ‪.‬ﺟﺮﺍﺉﻢ ﺍﻟﻨﻤﻂ‪ :‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻓﻲ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺤﻀﺮﻳﺔ ﻭﺳﻴﺎﺳﺔ ﺍﻹﺟﺮﺍﻡﻧﻴﻮﻳﻮﺭﻙ‪:‬‬

‫ﺟﺎﺭﻻﻧﺪ‪ .1993،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﻓﺮﻳﺘﺰ‪،‬ﺍﺭﻳﻚ‪.‬ﺟﺎﻥ ﻣﻴﺸﻴﻞ ﺑﺎﺳﻜﻴﺎﺕ‪ :‬ﺳﻴﺮﺓ ﺫﺍﺗﻴﺔ‪ .‬ﺳﺎﻧﺘﺎ ﺑﺎﺭﺑﺮﺍ‪ ،‬ﻛﺎﻟﻴﻔﻮﺭﻧﻴﺎ‪ :‬ﻏﺮﻳﻨﻮﻭﺩ‪.2010 ،‬‬

‫ﻣﻄﺒﻌﺔ‪.‬‬

‫ﻏﺎﻧﺰ‪،‬ﻧﻴﻜﻮﻻﺱ‪.‬ﻧﺴﺎء ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ :‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻦ ﺧﻤﺲ ﻗﺎﺭﺍﺕ‪ .‬ﻧﻴﻮﻳﻮﺭﻙ‪ :‬ﺃﺑﺮﺍﻣﺰ‪،‬‬

‫‪.2006‬ﻃﺒﺎﻋﺔ‪.‬‬

‫‪59‬‬
 ‫ﻏﺎﻧﺰﻭﻧﻴﻜﻮﻻﺱ ﻭﺗﺮﻳﺴﺘﺎﻥ ﻣﺎﻧﻜﻮ‪.‬ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ :‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻣﻦ ﺧﻤﺲ ﻗﺎﺭﺍﺕ‪.‬‬

‫ﻟﻨﺪﻥ‪:‬ﺗﻴﻤﺰ ﻭﻫﺪﺳﻮﻥ‪ .2009 ،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﻏﺎﺳﺘﻤﺎﻥ‪،‬ﺭﻭﺟﺮ‪ ،‬ﻭﻛﺎﻟﺐ ﻧﻴﻠﻮﻥ‪.‬ﺗﺎﺭﻳﺦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻷﻣﺮﻳﻜﻴﺔ‪ .‬ﻧﻴﻮﻳﻮﺭﻙ‪ :‬ﻫﺎﺭﺑﺮ‬

‫ﺗﺼﻤﻴﻢ‪ .2010،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﻏﺎﺳﺘﻤﺎﻥ‪،‬ﺭﻭﺟﺮ‪ ،‬ﻛﺎﻟﻴﺐ ﻧﻴﻠﻮﻥ‪ ،‬ﻭﺃﻧﺘﻮﻧﻲ ﺳﻤﻴﺮﺳﻜﻲ‪.‬ﻋﺎﻟﻢ ﺍﻟﺸﺎﺭﻉ‪ :‬ﺍﻟﻔﻦ ﺍﻟﺤﻀﺮﻱ ﻭ‬

‫ﺛﻘﺎﻓﺔﻣﻦ ﺍﻟﻘﺎﺭﺍﺕ ﺍﻟﺨﻤﺲ‪ .‬ﻧﻴﻮﻳﻮﺭﻙ‪ :‬ﺃﺑﺮﺍﻣﺰ‪ .2007 ،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﺟﻮﻟﺪﻣﺎﻥ‪،‬ﺃ‪.‬ﻗﻴﻤﺔ ﺇﺟﻤﺎﻟﻴﺔ‪ .‬ﺑﻮﻟﺪﺭ‪ :‬ﻣﻄﺒﻌﺔ ﻭﻳﺴﺘﻔﻴﻮ‪.1995 ،‬‬

‫ﻫﻴﺮﺷﻤﺎﻥ‪،‬ﺇﻟﻴﺰﺍﺑﻴﺚ ﺳﻲ‪" ،‬ﺍﻟﺠﻤﺎﻟﻴﺎﺕ ﻭﺍﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕ ﻭﺣﺪﻭﺩ ﻣﻔﻬﻮﻡ ﺍﻟﺘﺴﻮﻳﻖ"‪،‬‬

‫ﻣﺠﻠﺔﺍﻟﺘﺴﻮﻳﻖ‪)47 ،‬ﺻﻴﻒ(‪ .44-55,1983,‬ﻭﻳﺐ‪.‬‬

‫ﻫﻮﻟﺒﺮﻭﻙ‪،‬ﺩﻳﻔﻴﺪ‪.‬ﺍﻹﺑﺪﺍﻉ ﻭﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ .‬ﺭﺫﺭﻓﻮﺭﺩ‪ :‬ﻓﻴﺮﻟﻲ ﺩﻳﻜﻨﺴﻮﻥ ‪،UP‬‬

‫‪.1994‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﻫﻮﺯ‪،‬ﺭﺍﺳﻞ‪.‬ﺃﻣﺔ ﺍﻻﺳﺘﻨﺴﻞ‪ :‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﺍﻟﻤﺠﺘﻤﻊ ﻭﺍﻟﻔﻦ‪ .‬ﺳﺎﻥ ﻓﺮﺍﻧﺴﻴﺴﻜﻮ‪ :‬ﻣﺎﻧﻴﻚ ﺩ‪،‬‬

‫‪.2008‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﺟﺎﻥﻣﻴﺸﻴﻞ ﺑﺎﺳﻜﻴﺎﺕ‪ :‬ﺍﻟﻄﻔﻞ ﺍﻟﻤﺸﻊ‪ .‬ﺩﻳﺮ‪ .‬ﺗﻤﺮﺍ ﺩﻳﻔﻴﺲ‪ .‬ﺍﻷﺩﺍء‪ .‬ﺟﺎﻥ ﻣﻴﺸﻴﻞ ﺑﺎﺳﻜﻴﺎﺕ‪.‬‬

‫ﻣﺠﻤﻮﻋﺔﺍﻟﻔﻴﺪﻳﻮ ﺍﻟﺠﺪﻳﺪﺓ‪ .2010 ،‬ﺩﻱ ﻓﻲ ﺩﻱ‪.‬‬

‫ﺟﻲﺁﺭ‪" .‬ﺍﺳﺘﺨﺪﻡ ﺍﻟﻔﻦ ﻟﻘﻠﺐ ﺍﻟﻌﺎﻟﻢ ﺭﺃﺳﺎ ًﻋﻠﻰ ﻋﻘﺐ‪ ".‬ﻣﺤﺎﺿﺮﺓ‪ .‬ﺭﻏﺒﺔ ﺟﻲ ﺁﺭ ﻓﻲ ﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﺟﺎﺉﺰﺓ ‪ .TED‬ﻣﺤﺎﺩﺛﺎﺕ ﺗﻴﺪ‪,‬‬

‫ﻣﺎﺭﺱ‪ .2011‬ﺍﻟﻮﻳﺐ‪ 7 .‬ﻧﻮﻓﻤﺒﺮ ‪.2011‬‬

‫ﻛﻴﻨﻴﺪﻱ‪،‬ﺭﺍﻧﺪﻱ‪" .‬ﻫﻞ ﺗﺤﺘﺎﺝ ﺇﻟﻰ ﻣﻮﻫﺒﺔ ﻟﻌﺮﺿﻬﺎ ﻓﻲ ﺍﻟﻤﺘﺎﺣﻒ؟ ﻟﻴﺲ ﻫﺬﺍ ﺍﻟﻤﺨﺎﺩﻉ‪".‬ﺍﻟﺠﺪﻳﺪ‬

‫ﻳﻮﺭﻙﺗﺎﻳﻤﺰ‪ 24 .‬ﻣﺎﺭﺱ ‪ .2005‬ﺍﻟﻮﻳﺐ‪ 12 .‬ﺩﻳﺴﻤﺒﺮ ‪.2011‬‬

‫‪>http://www.nytimes.com/2005/03/24/arts/design/24arti.html<.‬‬

‫ﻛﺮﻳﺠﻞ‪،‬ﻟﻴﻮﻧﺎﺭﺩ‪" .‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ :‬ﻣﻼﺣﻈﺎﺕ ﺍﻟﻨﻔﻖ ﻷﺣﺪ ﺳﻜﺎﻥ ﻧﻴﻮﻳﻮﺭﻙ"ﺍﻟﺒﺎﺣﺚ ﺍﻷﻣﺮﻳﻜﻲ‪,‬‬

‫ﺻﻴﻒ‪.436-431 .1993‬‬

‫ﻟﻮﻳﺴﻮﻥ‪،‬ﺳﻴﺪﺍﺭ‪.‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ :‬ﺛﻮﺭﺓ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .‬ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪ :‬ﺃﺑﺮﺍﻣﺰ‪.2008 ،‬‬

‫ﻣﻄﺒﻌﺔ‪.‬‬

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 ‫ﻣﺎﻛﺪﻭﻧﺎﻟﺪ‪،‬ﻫﻴﺬﺭ‪" .‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﺮﺍﺩﻳﻜﺎﻟﻴﺔ ﺷﻴﻚ"‪ .‬ﺇﺩ‪ .‬ﺑﺮﻳﺎﻥ ﺳﻲ ﺃﻧﺪﺭﺳﻮﻥ‪.‬ﻣﺠﻠﺔ ﺍﻟﻤﺪﻳﻨﺔ‪21.2‬‬

‫)‪.(2011‬ﻣﺠﻠﺔ ﺍﻟﻤﺪﻳﻨﺔ‪ .‬ﻣﻌﻬﺪ ﻣﺎﻧﻬﺎﺗﻦ‪ .‬ﻭﻳﺐ‪ 28 .‬ﻓﺒﺮﺍﻳﺮ ‪.2012‬‬

‫‪>http://www.city-journal.org/2011/21_2_vandalism.html<.‬‬

‫ﻣﺎﻛﺪﻭﻧﺎﻟﺪ‪،‬ﻧﺎﻧﺴﻲ‪.‬ﺛﻘﺎﻓﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻔﺮﻋﻴﺔ‪ :‬ﺍﻟﺸﺒﺎﺏ ﻭﺍﻟﺬﻛﻮﺭﺓ ﻭﺍﻟﻬﻮﻳﺔ ﻓﻲ ﻟﻨﺪﻥ‬

‫ﻭﻧﻴﻮﻳﻮﺭﻙ‪ .‬ﺑﺎﺳﻴﻨﺠﺴﺘﻮﻙ ]ﻭﺍ‪ :‬ﺑﺎﻟﺠﺮﻳﻒ ﻣﺎﻛﻤﻴﻼﻥ‪ .2002 ،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﻣﺎﻛﻮﺭﻣﻴﻚ‪،‬ﻛﺎﺭﻟﻮ‪ ،‬ﻣﺎﺭﻙ ﺷﻴﻠﺮ‪ ،‬ﺳﺎﺭﺓ ﺷﻴﻠﺮ‪.‬ﺍﻟﺘﻌﺪﻱ ﻋﻠﻰ ﻣﻤﺘﻠﻜﺎﺕ ﺍﻟﻐﻴﺮ‪ :‬ﺗﺎﺭﻳﺦ ﻏﻴﺮ ﻣﻔﻮﺽ‬

‫ﺍﻟﻔﻦﺍﻟﺤﻀﺮﻱ‪ .‬ﻛﻮﻟﻦ‪ :‬ﺗﺎﺷﻦ‪ .2010 ،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﻧﺸﺒﺎﺭ‪،‬ﺟﻮﻥ ﺟﻲ‪ ،‬ﻭﻛﻴﻔﻦ ﻟﻮﺳﻲ‪.‬ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ :‬ﻧﺺ ﺗﻤﻬﻴﺪﻱ‪ .‬ﺍﻟﺒﻮﻟﻴﻨﺞ‬

‫ﺟﺮﻳﻦ‪،‬ﺃﻭﻫﺎﻳﻮ‪ :‬ﺟﺎﻣﻌﺔ ﺑﻮﻟﻴﻨﺞ ﺟﺮﻳﻦ ﺳﺘﻴﺖ ﺍﻟﺸﻌﺒﻴﺔ‪ .1992 ،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﺭﺍﻥ‪،‬ﺟﺎﻧﻴﺲ‪.‬ﺍﻟﺮﺳﻢ ﺩﻭﻥ ﺇﺫﻥ‪ :‬ﺛﻘﺎﻓﺔ ﺍﻟﻬﻴﺐ ﻫﻮﺏ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﺍﻟﻔﺮﻋﻴﺔ‪ .‬ﻭﻳﺴﺘﺒﻮﺭﺕ‪ ،‬ﻛﻮﻧﻴﺘﻴﻜﺖ‪:‬‬

‫ﺑﻴﺮﺟﻴﻦﻭﻏﺎﺭﻓﻲ‪ .2002 ،‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﺭﻭﻣﻴﺮﻭ‪،‬ﺳﻴﻤﻮﻥ‪"" .‬ﻓﻲ ﺣﺎﻟﺔ ﺣﺮﺏ ﻣﻊ ﻣﺆﺳﺴﺔ ﺳﺎﻭ ﺑﺎﻭﻟﻮ‪ ،‬ﺍﻟﻄﻼء ﺍﻷﺳﻮﺩ ﻓﻲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﻴﺪ‪"".‬ﺟﺪﻳﺪ‬

‫ﻳﻮﺭﻙﺗﺎﻳﻤﺰ]ﻧﻴﻮﻳﻮﺭﻙ[‪.‬ﻧﻴﻮﻳﻮﺭﻙ ﺗﺎﻳﻤﺰ‪.‬ﻛﻮﻡ‪ 28 .‬ﻳﻨﺎﻳﺮ ‪ .2012‬ﺍﻟﻮﻳﺐ‪ 16 .‬ﻓﺒﺮﺍﻳﺮ ‪.2012‬‬

‫ﺭﻳﺰﻳﻚ‪،‬ﻣﻴﻠﻴﻨﺎ‪" .‬ﺃﻗﺮﺏ ﺇﻟﻰ ﺍﻻﺗﺠﺎﻩ ﺍﻟﺴﺎﺉﺪ‪ ،‬ﻻ ﻳﺰﺍﻝ ﻣﺘﻤﺮﺩﺍً ﺑﻌﺾ ﺍﻟﺸﻲء‪".‬ﺍﻭﻗﺎﺕ ﻧﻴﻮﻳﻮﺭﻙ‬

‫]ﻧﻴﻮﻳﻮﺭﻙ[ ‪ 2‬ﺃﻛﺘﻮﺑﺮ ‪.2008‬ﻧﻴﻮﻳﻮﺭﻙ ﺗﺎﻳﻤﺰ‪.‬ﻛﻮﻡ‪ .‬ﻭﻳﺐ‪ 10 .‬ﺩﻳﺴﻤﺒﺮ ‪.2011‬‬

‫‪>http://www.nytimes.com/2008/10/02/arts/design/02fair.html?ex=1380686400&en=e17a‬‬

‫‪d9261bb04ea3&ei=5124<.‬‬

‫ﺷﻮﺍﺭﺗﺰﻣﺎﻥ‪،‬ﺁﻻﻥ‪.‬ﻓﻦ ﺍﻟﺸﺎﺭﻉﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ ‪، The Dial Press، Doubleday & Co.، 1985‬‬

‫ﺳﻴﻠﻔﺮ‪،‬ﺗﻮﻧﻲ‪ ،‬ﺣﺮﻭﺏ ﺍﻟﻤﻮﺿﺔ‪ .‬ﺍﻟﻮﻻﻳﺎﺕ ﺍﻟﻤﺘﺤﺪﺓ ﺍﻷﻣﺮﻳﻜﻴﺔ‪ :‬ﻧﻬﺮ ﺍﻟﻌﺎﻃﻔﺔ‪ .1983 .‬ﻓﻴﻠﻢ‪.‬‬

‫ﺳﻨﺎﻳﺪﺭ‪،‬ﺟﺮﻳﺠﻮﺭﻱ ﺝ‪.‬ﺣﻴﺎﺓ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ :‬ﻣﺎ ﻭﺭﺍء ﺍﻟﻌﻼﻣﺔ ﻓﻲ ﻣﺘﺮﻭ ﺍﻷﻧﻔﺎﻕ ﺍﻟﺤﻀﺮﻱ ﻓﻲ ﻧﻴﻮﻳﻮﺭﻙ‪.‬‬

‫ﻧﻴﻮﻳﻮﺭﻙ‪:‬ﻧﻴﻮﻳﻮﺭﻙ ‪ .UP، 2009‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﺳﺘﻮﺭﺯ‪،‬ﺟﻮﺭﺝ ﺳﻲ‪“ .‬ﻓﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ :‬ﻣﻘﺎﻝ ﻳﺘﻌﻠﻖ ﺑﺎﻻﻋﺘﺮﺍﻑ ﺑﺒﻌﺾ ﺍﻷﺷﻜﺎﻝ‬

‫ﺍﻟﻜﺘﺎﺑﺔﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻛﻔﻦ‪".‬ﺟﺮﺍﺉﻢ ﺍﻟﻔﻦ‪ .‬ﺧﺮﻳﻒ ‪ 25 .1997‬ﺳﺒﺘﻤﺒﺮ ‪2005‬‬

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‫ﻓﻴﺴﻜﻮﻧﺘﻲ‪،‬ﻟﻮﻛﺎ ﻡ‪ ،‬ﻭﺁﺧﺮﻭﻥ‪" .‬ﻓﻦ ﺍﻟﺸﺎﺭﻉ‪ ،‬ﻓﻦ ﺟﻤﻴﻞ؟ ﺍﺳﺘﻌﺎﺩﺓ "ﺍﻟﺠﻤﻬﻮﺭ" ﻓﻲ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ‪".‬‬

‫ﻣﺠﻠﺔﺃﺑﺤﺎﺙ ﺍﻟﻤﺴﺘﻬﻠﻚ‪ :(2010) 37.3‬ﺍﻟﺼﻔﺤﺎﺕ ﻣﻦ ‪ 511‬ﺇﻟﻰ ‪.529‬‬

‫ﻭﺍﻛﻼﻭﻳﻚ‪،‬ﺁﻧﺎ‪.‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻭﻓﻦ ﺍﻟﺸﺎﺭﻉ )ﻋﺎﻟﻢ ﺍﻟﻔﻦ(‪ .‬ﻧﻴﻮﻳﻮﺭﻙ‪ :‬ﺗﻴﻤﺰ ﻭﻫﺪﺳﻮﻥ‪،‬‬

‫‪.2011‬ﻃﺒﺎﻋﺔ‪.‬‬

‫ﻭﺍﻟﺶ‪،‬ﻣﺎﻳﻜﻞ‪.‬ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .‬ﺑﻴﺮﻛﻠﻲ‪ ،‬ﻛﺎﻟﻴﻔﻮﺭﻧﻴﺎ‪ :‬ﻛﺘﺐ ﺷﻤﺎﻝ ﺍﻷﻃﻠﺴﻲ‪.1996 ،‬‬

‫ﻭﻛﺴﻠﺮ‪،‬ﻟﻮﺭﻳﻦ‪.‬ﻣﻮﺳﻮﻋﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .‬ﻧﻴﻮﻳﻮﺭﻙ‪ :‬ﻣﺎﻛﻤﻴﻼﻥ‪.1974 ،‬‬

‫ﻭﻳﺮﻭﺍﺙ‪،‬ﺗﻴﻤﻮﺛﻲ‪“ .‬ﺛﻘﺎﻓﺔ ﻭﺳﻴﺎﺳﺔ ﻓﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ”‪.‬ﺟﺮﺍﺉﻢ ﺍﻟﻔﻦ‪ 19 .‬ﻣﺎﺭﺱ ‪.2006‬‬

‫ﻭﻳﺐ‪ 28.‬ﻓﺒﺮﺍﻳﺮ ‪.<http://www.graffiti.org/faq/werwath/werwath.html> .2012‬‬

‫ﻭﻭﺩ‪،‬ﺟﻮﺵ‪" .‬ﻧﻀﺞ ﻓﻦ ﺍﻟﺸﺎﺭﻉ ﻓﻲ ﺍﻟﻘﺎﻫﺮﺓ‪".‬ﺍﻭﻗﺎﺕ ﻧﻴﻮﻳﻮﺭﻙ‪ 27 .‬ﻳﻮﻟﻴﻮ ‪.2011‬‬

‫ﻭﻳﺐ‪ 12.‬ﻣﺎﺭﺱ ‪.2012‬‬

‫‪>http://www.nytimes.com/2011/07/28/world/middleeast/28iht-M28-EGYPT-‬‬

‫‪TAGS.html?ref=graffiti<.‬‬

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