The politics of urban murals in North Africa: Performing dissent and martyrdom in the city

In the context of usually little tolerance policies in North African political culture towards public gatherings, this article demonstrates the importance of understanding why street art has become unpredictable and unpunishable since the social protests of 2011 in Tunisia and Egypt. Studying graffiti has relevance for research and policies on artistic rebellion as this art is part of a little defined area of performance that is not harmful but can nonetheless be labelled as unrest. It has a role of eyes on the street in multifunctional neighbourhoods, when people’s presence in the streets contemplating murals or demonstrating nearby could contribute to attract more people, but distinct from people who hang around in urban spaces as social disorder. In the region’s public space some official or government supported demonstrations can be performed, while everything that departs from the mainstream is removed or excluded. This article establishes that straying perspectives on public manifestations, graffiti included, lead to confusion about appropriate political responses. In fact, it addresses the question that if offensiveness is subjective, how can authorities discern what is acceptable and what is not. And to whom should authorities listen: to the majority, to those with most political or economic influence, or to more marginal artistic groups who enact their ‘right to the city’.