English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Pro

Presents the zaia usage as premium feature

ZAIA

Presents AI Discovery search usage as a premium feature

AI Discovery

Presents AI Discovery explain and summary usage as a premium feature

Content Analysis

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Presents the pdf analysis as premium feature

PDF Analysis

1500 Top-up

3000 Top-up

Zendy Basic

2500 Top-up

Zendy Unlimited

Presents the access of premium content as premium feature

Premium Content

Pietrosanti suggests that graffiti is about “taking spaces otherwise forbidden” (2010, 72), while Ferrell (1995) states that young men and women employ graffiti as a means of resisting particular constellations of political and religious authorities. In this chapter, graffiti around the University of Addis Ababa campus is studied as a form of the writers’ self-expression. In research on graffiti, the graffiti artist is seen as negotiating a myriad of conflicted relationships between seen and unseen, space and place, local and global, and quiet and loud. Graffiti has also been interpreted as having the potential to communicate the common visions of politics that the young talk about with each other, and that unite people as members of a larger community, both local and global (Truman 2010, 10). What can the silent drawings on Ethiopian university walls and tables reveal to a researcher on youth and politics? Ajayi argues that the capacity for independent thought and expression has not been encouraged in African countries and, consequently, students in African universities pay a heavy price for free expression (Ajayi cited in Balsvik 2007, 3). In this regard, Addis Ababa University is no different from the higher education institutions of other African countries. Established in the 1950s, it is one of the oldest and largest universities in Africa yet, with regards to freedom of expression, the previous and current regimes of Ethiopia can be regarded as repressive and, as Balsvik (2007, 2) observes, “Since the universities are key state institutions, conditions for free expression even within the university campuses are highly dependent on the actions and reactions of the regimes in power.” The repressive environment in Ethiopia encourages students to opt for hidden forms of expression. Since the establishment of the university, students have not been encouraged to write on topics like politics and religion. For example, in one of the first rounds of Addis Ababa University student papers known as uc Calls, students were encouraged to “write on any topic under the sun, except on politics and religion” (Bahru 2014, 78); pseudonyms were

Taking the Forbidden Space: Graffiti and Resistance in Addis Ababa University, Ethiopia