20.500.12556/RUP-22524 Newyorški grafitarji nevidna množica, ki je sprožila hiphop New York GraffitiWriters The Invisible Crowd That Started Hip Hop Evolucija sloga, kasneje poimenovanega kot hiphop, se je začela v zgodnjih 70. letih prejšnjega stoletja v krogu približno 11 kilometrov med Bronxom in Manhattnom. Prispevek je posvečen grafitarjem v New Yorku, ki so kot elitna skupina tega ustvarjalnega vozlišča razvili divji slog (angl. wild style). Pisanje grafitov po podzemni železnici in drugih izpostavljenih površinah v javnem prostoru je delovalo kot učinkovit komunikacijski kanal. Sprožilo je globalni družbeni trend podpisovanja s slikovnimi grafiti. Na podlagi etnografske analize pisnih in avdiovizualnih virov o nastanku ter razvoju hiphoperskih grafitov v ameriških mestih prispevek raziskovano skupino opisuje kot nevidno ali razpršeno množico z uporabo metodologije kulturne antropologije in socialne psihologije. Analiza delovanja in mobilizacijske moči skupine temelji na metodah psihologije množice, predvsem frustracijskih in komunikacijskih teorijah množic. Raziskovana skupina je po teoriji dodane vrednosti Neila Smelserja označena kot vrednostno usmerjeno družbeno gibanje, represivni ukrepi proti njej pa kot odgovor oblasti v skladu z ustaljenim načinom sklicevanja na red in zakonitost. Analizo dopolnjuje teorija Howarda Rheingolda, ki razlaga komunikacijske navade množic v tehnološko naprednejših okoliščinah na globalni ravni. Preučevana skupina je kronološko gledano spadala v čas pred začetkom hiphopa, vendar jo zaradi konstruktivnega mobilizacijskega vpliva na nadaljnji razvoj gibanja na splošno uvrščamo med temeljne sestavine hiphopa. The evolution of style that became known as hip hop started in the early 1970s in a seven-mile circle between Bronx and Manhattan. The focus of this paper is graffiti writers in New York, perceived as the elite squad of the creative hub, which developed the wild style. Writing graffiti on subway and other exposed surfaces in public spaces served as an efficient communication channel. It started the global social trend of signing with pictorial graffiti. Based on an ethnographic analysis of written and audio-visual sources about the origin and development of hip-hop graffiti in American cities, this paper describes the subject group as an invisible or dispersed crowd, using the methodology of cultural anthropology and social psychology. The analysis of the functioning and mobilization power of the group is based on the methods of crowd psychology, in particular the frustration and communication crowd theories. The subject group, according toNeil Smelser’s theory of added value, is described as a value-oriented social movement, and the repressive measures against it as a response of the authorities in accordance with the established way of referring to order and legality. The analysis is upgraded by Howard Rheingold’s theory about the communication habits of crowds in technologically advanced circumstances on a global level. Chronologically, the studied group preceded the launch of hip hop; however, it is generally classified as a fundamental part of hip hop due to its constructive mobilizing influence. grafiti hiphop New York psihologija množice nevidna množica teorija množičnih uporov graffiti hip hop New York crowd psychology invisible crowd theory of mass uprisings true false false Slovenski jezik Angleški jezik Članek v reviji 2026-01-22 09:47:51 2026-01-22 10:03:44 2026-01-24 03:03:57 0000-00-00 00:00:00 2025 0 0 str. 281-298 no. 2 Vol. 57 2025 0000-00-00 Zaloznikova Objavljeno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 0587-5161 2630-4082 https://doi.org/10.26493/2630-4082.57.281-298 ZUP_Konda_Helena_2025.pdf ZUP_Konda_Helena_2025.pdf 1 425B7256FCCBA27685D49E3B6BDB6994 efa95d3869178afa39a245061ed4e4472eb34153b14f1d013319234c5b4681a4 7c00e3d8-f76f-11f0-b092-005056ac49c0 https://repozitorij.upr.si/Dokument.php?lang=slv&id=32759 Založba Univerze na Primorskem 0 0 0