![]() ![]() ![]() Hobo graffiti is a part of the larger overall history of graffiti, where wall markings are about illegally emplacing a name on property, symbolically stating their presence as a member of minority subculture. Their representation was made not only on trains but, as in the case of contemporary graffiti, on buildings, telegraph poles, fences, gates, bridges, etc., through geometric shapes (circles, squares, rectangles, and triangles), numbers, arrows, and other type of lines. These secret codes on trains and in train stations were intended to give information on the best places to camp or find a meal, or dangers that lay ahead. The so-called hobos, whose name means, in English, homeless people, were, in fact, a very specific type of homeless traveler, “nomadic” workers who voyaged without tickets on freight trains searching for a job, communicating with each other through various graphic signs. The history of graffiti may be associated to epigraphs and representations discovered in archaeological sites or on the walls of various buildings, which date from antiquity and are testimonies of the time in which they were carried out, as well as to hoboglyphs developed in the early 20th century in the USA during the great economic crisis of the 1930s. ![]() Graffiti, etymologically originating from the Italian word “graffiare” which means to scratch, is a very complex phenomenon. The results demonstrate that in Bucharest, street art contributes to highlighting mainly the key-moments and the personalities in culture and history that contribute to shaping a part of cultural identity. Street art works have various positive effects on the urban landscape, including in relation to culture and heritage in time. The methods used rely on a complex approach, combining observation and photos from field research, documentation, and data collection from different organizations and online communities. The analysis of the evolution followed by graffiti and street art in Bucharest is doubled by the investigation of the messages transmitted in relation to the national and local culture and history, as street art may be seen as an efficient tool contributing to local cultural identity building. ![]() The paper aims to analyze, on one hand, the evolution and interpretation of graffiti and street art phenomenon in the Romanian capital, Bucharest, and at international level, and on the other hand how this subculture is related to aspects of culture and heritage. ![]()
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