Street Art as Tropical Heritage in Semeling: Emplacing Rural Tourism in Kuala Muda District, Malaysia

Street art presents an alternative to traditional tourist attractions, contributing to urban regeneration and economic diversification in marginalized areas. However, as with any form of tourism, without proper planning, it can negatively affect the quality of life of local communities. Bogotá, the capital of Colombia, is currently recognized as one of the leading street art destinations in Latin America, attracting significant interest from international visitors. This study explores the sustainability of street art tourism in Bogotá’s historic center, based on the perspectives of key tourism stakeholders, addressing a gap in academic literature on this emerging cultural tourism practice. Fieldwork was conducted using a mixed-methods approach that combined qualitative and quantitative techniques. In-depth interviews were held with members of the local community, street artists, tourism entrepreneurs, and representatives from the local public administration of culture and tourism. Additionally, the study included tourist surveys, participant observation during street art tours, and mapping exercises. Findings indicate that visitors perceive Bogotá’s street art as an authentic and distinctive experience that deepens their understanding of local culture, values, and history. Interviewees from the host community generally express a positive view of street art tourism, as it is associated with supporting local businesses and enhancing perceptions of safety in the area. Notably, the street art tours that appear to deliver the most significant socioeconomic benefits to residents are those organized through community-based tourism initiatives, supported by public institutions. The study results suggest that street art tourism in Bogotá might have significant potential to enhance the city’s image, attract cultural visitors, and diversify traditional tourist offerings through authentic experiences. Coordinated efforts by public administrations could help realize this potential, including promoting street art, expanding tours beyond the historic center, and improving infrastructure and mobility to support tourism in new urban areas. Furthermore, the sustainability of street art tourism depends on collaboration among public institutions, private tourism actors, local communities, and street artists, which might help mitigate potential negative impacts on the local community.

What is street art? Who is the street artist? Why is street art a crime? Since the late 1990s, a distinctive cultural practice has emerged in many cities: street art, involving the placement of uncommissioned artworks in public places. Sometimes regarded as a variant of graffiti, sometimes called a new art movement, its practitioners engage in illicit activities while at the same time the resulting artworks can command high prices at auction and have become collectable aesthetic commodities. Such paradoxical responses show that street art challenges conventional understandings of culture, law, crime and art. Street Art, Public City: Law, Crime and the Urban Imagination engages with those paradoxes in order to understand how street art reveals new modes of citizenship in the contemporary city. It examines the histories of street art and the motivations of street artists, and the experiences both of making street art and looking at street art in public space. It considers the ways in which street art has become an integral part of the identity of cities such as London, New York, Berlin, and Melbourne, at the same time as street art has become increasingly criminalised. It investigates the implications of street art for conceptions of property and authority, and suggests that street art and the urban imagination can point us towards a different kind of city: the public city. Street Art, Public City will be of interest to readers concerned with art, culture, law, cities and urban space, and also to readers in the fields of legal studies, cultural criminology, urban geography, cultural studies and art more generally.

Street artists around the world have been prominent in depicting issues concerning COVID-19, but the role of street art in public-making during the pandemic is unexplored. Despite burgeoning street art scenes in many African countries since the early 2000s, African street art is relatively neglected in critical street art scholarship. In response, this paper examines street art created during the pandemic in East African countries, principally Uganda, Kenya, Rwanda, and Tanzania, and explores the ways in which it is engaged in highly distinctive forms of public-making. Drawing primarily on qualitative online interviews with East African artists creating street art, and image analysis using online search tools, the paper argues that street art in urban areas is attempting to create knowledgeable publics through countering disinformation about the pandemic, to responsiblize publics through public health messaging and, through community activism, to build resilient publics. The paper concludes that street art is potentially an important tool in tackling the COVID-19 pandemic in East African countries due to the proximity, and mutual constitution of, creative practices and publics, which emerge from the embedding of street art within the social spaces of cities and everyday experiences of the pandemic.

This is a paper on street art and its role as a form of artistic insurrection that challenges popular understandings of public space and urban visual culture. I would like to think of it as a field guide to urban seeing, a means of revising the way in which we view the cityscape and its imagery. It is a way of imagining the city as a canvas onto which ideas may be inscribed and reinterpreted, where resistance percolates up to those who look for it. It is here, in what Kathleen Stewart has called a “place by the side of the road” that the work of the street artist exists, slowly gurgling up through the cracks in the sidewalk and briefly illuminated by the yellow-white glow of the street lights.
 Street art most often takes the form of adhesive stickers, spray-painted stencils, and wheat-pasted posters, and while it shares many similar aesthetic and cultural characteristics with graffiti, street art embodies a unique ideology. Graffiti represents a territorialization of space (‘tagging’, or reclaiming urban spaces through the use of pseudonyms as territorial markings); street art represents a reterritorialization of space. Rather than taking space, street art attempts to re-purpose the existing urban environment.
 This paper seeks to reflect the changing dynamic of urban space through an analysis of the practice of street art. By examining the roles that street artists play in disrupting the flow of visual noise in the city, I will illuminate the cultural value and significance of this form of urban artistic resistance.

Street art is promoted in most countries to intensify the cultural elements of the cityscape. Although street art provides cultural and social values, its impact on the prices of prewar historic property is still unknown. Therefore, an empirical study that examines the relationship between prewar shophouse prices and street art is needed to improve real estate professionals’ understanding of the historic preservation market. Using pre- and post-models for the years 2009 to 2019, this study systematically determined the actual location of 119 street art objects (in the form of sculptures and murals) and the 852 prewar shophouses sold in George Town, Penang. The price change of prewar shophouses correlates with the number of street art objects within 100 m, 500 m, and 1000 m of the properties. Due to the heterogeneous characteristics of the properties, six primary hedonic models were developed to extract the price premium of street art. This study has shown the impact of street art on a prewar commercial building, where an additional unit of sculpture could increase its price by 8.32%, 1.62%, and 0.74%, based on radii of 100 m, 500 m, and 1000 m, respectively, in the post-model (after 2012–2019). However, a mural painting has no significant effect on the price change of prewar shophouses. In addition, the position of street art (representing visibility) in the model was tested. The result shows that, unlike sculptures that were located at the back of prewar houses, such street art effects contributed positively to the price premium when they were located at the front of the buildings, with each additional unit of sculpture increasing the price premium of prewar houses by 1.13%. Sculptures as street art thus created a positive externality for the city, particularly with respect to the price premium for prewar shophouses.

PurposeDigital promotional techniques like social media have helped new tourist destinations grow. Vlogs employ digital experience-based tourist promotion to attract new visitors by showing their visual appeal to different market segments. This study explores Malaysia’s digital heritage tourism marketing challenges. Considering how language and culture affect tourism market segmentation in Malaysia, the study will examine multilingual travel vlogs promoting urban heritage tourism. It will identify themes and segmentation driving multilingual digital experienced-based tourism promotion in Malaysia.Design/methodology/approachThe research used qualitative video-based content analysis (VCA) to analyse travel vlogs of heritage tourism destinations such as George Town, Ipoh and Melaka in English, Malay, Chinese and Tamil from YouTube, Facebook, Instagram and TikTok. The study employed thematic content analysis to identify key marketing segmentation themes to better understand Malaysian social media users' heritage tourism digital consumption preferences.FindingsThe study identified food preferences, cultural affinity, experiential attractions and a sense of familiarity as key themes influencing different linguistic segmentation of vlogs of heritage tourism in Malaysia. As such, this study will also provide detailed insights for marketers seeking to tailor their strategies to diverse linguistic and cultural preferences in experience-based heritage tourism. The findings may assist SMEs, heritage food service providers, and other historical attraction businesses better understand the demands and appeals of linguistic-based heritage tourism marketing in Malaysia.Practical implicationsThis study seeks to examine how language affects heritage tourism promotion and reception in Malaysia. Applications: Heritage tourism branding and marketing may employ the findings to produce content and attractions for segmented markets, especially in Malaysia.Originality/valueThis study examines linguistic market segmentation-based digital experience-based heritage tourism promotion themes. As branding and marketing in Malaysia is multicultural and multilinguistic this research presents a unique perspective on how digital experience-based heritage tourism differs based on these factors.

In contemporary society, urban spaces have emerged as the predominant locale for communal assembly among the general populace. However, a significant deficiency of urban spaces is observed in the majority of metropolitan locations in Malaysia. This study raises the question of how urban space could promote community space in an urban area while considering activities and site physical attributes. Therefore, this study aims to identify the urban space attributes and activities in two categories of Malaysian cities: new urban areas and historical areas. This study uses cross-comparison and descriptive analysis to derive key attributes of urban spaces, including high walkability, diverse activities, vibrant street art, and green elements. The dominant attributes based on the evaluation were walkability, urban activities, street art, green elements, and aesthetically pleasing historic buildings. Primary activities were walking, photography, and cycling (100%). Predominant urban activities based on evaluation were walking, photographing, and sales booth streets. Sungai Segget Johor Bahru (mix of historical and new urban areas), Melaka Jonker Street (historical town) and River of Life Kuala Lumpur (a mix of historical and new urban areas) have the highest of urban space elements. Therefore, urban activities are highest in historical cities such as Melaka Jonker Street and Penang Street Art. This study provides stakeholders valuable insight into different urban space attributes and activity patterns between cities. By expanding the analysis scope beyond the main capital city in Malaysia and recommending further exploration of additional attributes, this research offers a more nuanced understanding of the interplay between urban space and activities.

Comuna 13 is one of the 16 districts of Medellín. Due to a complicated history of state neglect, violence, and military operations, it was considered one of the most dangerous sectors of the city. In recent years, it has undergone a significant transformation, becoming one of the safest and most tourist-friendly areas. This change is due to the vibrant street art scene that took place in the public spaces of the comuna. The aim of this research was to understand the impact of street art in the “transformation” of the Comuna and in the life experiences of the residents. The research was conducted using the method of walking ethnography. The method of walking with participants through an urban space is becoming increasingly common in research aimed at understanding the experiences and issues related to a particular place. The benefits of this method are rooted in the fact that sensory immersion in a place helps interviewees relive memories associated with that place. Through these memories, it is possible to explore not only the participants' personal experiences but also broader cultural, political, social, and economic elements. The walks revealed that participants consider street art as one of the main elements that have contributed to the "transformation" of Comuna 13, enhancing the appearance of public spaces and, at the same time, attracting visitors who have introduced new streams of capital into the local economy, improving the quality of life for the community. This research demonstrates once again that street art can be a powerful tool for social change in vulnerable communities.

In China, conservation of minority heritage has been closely related to tourism development. Ecomuseums have also become a new model which serves to satisfy two major tasks: minority heritage protection and tourism development. In this paper, I explore how trails are planned in Gyalrong people's villages under the mode of ecomuseum. Through interviews and field survey in several villages, including review of three major tourism plans and proposals from local officials, I compared trails that were constructed by local ethnic groups with trails that are currently planned predominantly by the government. Through this comparison, I found that there are conflicts and an unbalanced relationship between the ethnic groups and the government. Furthermore, I emphasize the ways in which the philosophy of the ecomuseum is displaced and modified in the context of Chinese society. In conclusion, I point out problems faced by local ethnic communities as they find their way to achieving sustainable development under the framework of heritage tourism and nation-state political power. Ecomuseums and heritage tourism have been discussed a great deal in China and internationally; this study points out key problems and critical issues in current ways of developing heritage tourism in the landscape of minorities in China.

Malaysia is experiencing an incredible pace of tourism development and heritage tourism is one of the tourism branches that have long contributed to appeal the tourist destination and acts as important marketing tool to attract tourist especially with special interests in heritage and arts. Cultural heritage tourism has emerged as a potential form of alternative tourism among both international tourists as well as Malaysian domestic travelers. The difference of ethnics present in Malaysia brought different local knowledge discipline ranging from its architecture, handicrafts, traditional attire, music and dance, which reflects a colorful heritage and an amalgamated culture. There are arise of conflict in management of cultural heritage tourism in Malaysia face by tourism managers, stakeholders, governments, cultural heritage managers and local community itself. In order to maintain, conserve and preserve the resources and assets of cultural heritage in Malaysia, a system or management need to be develop that take into consideration on every issues and challenge, so that the decision making process is reliable to optimize the value of cultural heritage tourism industry in Malaysia. The purpose of this paper is to give an overview and discuss the status, issues and challenge of cultural heritage tourism in Malaysia.

ABSTRACTCommunity groups in historic cities and their generational socio-cultural practices are important living heritage that carries educational value. Hence, historic cities, particularly those which are inscribed as the UNESCO World Heritage Site, are usually famous tourist destinations. Nevertheless, the potential of heritage tourism tends to attract capital (re)investments that would trigger evictions, displacements and gentrification. A case in point is the George Town World Heritage Site (GTWHS) in Malaysia, in which a case study was conducted to assess the impacts of inscription on its intangible living heritage. The findings unfold that the listing has generated unprecedented capital appreciation, rent spike, and an increase in the transactions of pre-war shop houses. Inevitably, they have triggered gentrification in the GTWHS, in that the original inhabitants and their traditional trades have been replaced with new residents and tourism-related businesses. Furthermore, the street art, instead of the heritage, has boosted its tourism industry, enabled some locals to make tourism money, and revived the historic core. This paper examines how gentrification has undermined the intangible living heritage that partly projects the Outstanding Universal Values for the GTWHS, and why it should be safeguarded for the knowledge of the future generations and heritage tourists.

New forms of resistance through Murals: The case of a Roman periphery. Research deepens the relationship between street art, as rooted urban practice, and the transformation of the places. In the last few years, innovative and absolutely local practices feature Trullo, an urban area South of Rome; this place seems to offer a good example of urban redevelopment through this particular artistic form. Street art is increasingly involved in the aesthetics of new cities; linked to the social and identity dimension, this is widely supported by public authorities and institutional interests, thanks to numerous works that "privatize" and color the city. In most cases these are selected si-tes, such as to favor the tourist interests, well inserted in city dynamics. In a context of urban re-development and economic investments, one can find a specific site where art works as engine of change: since 2013 to the Trullo (Portuense suburb) a group of "artists" is active, "Pittori ano-nimi del Trullo", born among the local themselves. Art becomes a form of socialization, it will im-prove their living spaces; a very local manifestation bearer of novelty and innovative forms of re-presentation

This study aims to give street art, especially religious street art, the critical attention it deserves. A sample of visual images present in various inner-city communities of Kingston, Jamaica, is considered, taking account of the analysis of Jaffe, Rhiney and Francis. It focuses on the uses of popular art to institutionalize criminal governance structures through the iconization of local area leaders known as “dons” by aesthetic fashioning that combines elements of religious, political, and celebrity culture. Unlike Jaffe, however, this snapshot highlights religiosity and demonstrates the importance of popular art in giving expression to and negotiating faith. It argues, further, contrary to Zacca, that the days of simplified line drawings and text from the Bible are not gone. Rather, popular art in the form of death memorials and icons of criminals/gangs has simply become an additional form of artistic expression of religiosity. At the same time, biblical texts, particularly the Psalms along with Rasta and national iconography are among the most popular forms of religious street art, as are indicated in the sample.

Street art, which originally stems from graffiti, has evolved into a powerful medium that has a significant impact on the cultural and physical landscape of heritage cities. “Literature Review on the Physical Characteristics of Heritage Cities from the Perspective of Street Art Design,” will explore the various roles played by street art in urban environments. The primary aim of this research is to examine the influence of street art on the physical and cultural character of heritage cities. Through a comprehensive literature review and case study analysis, this research highlights how street art contributes to the aesthetic transformation of urban areas, preservation of cultural heritage, and socio-economic development. The study also explores the evolution of street art from acts of rebellion to a recognized form of public art that interacts with its environment and connects with local communities. It emphasizes the potential of street art to beautify cities, express culture, and build community. By highlighting the importance of street art in heritage cities, the research examines how various forms of graffiti, murals, stencils, posters, and 3D installations interact with public spaces and impact the physical character of heritage cities. Findings from the literature review indicate the transformative potential of street art in heritage cities. It plays a crucial role in the aesthetic transformation of urban areas, cultural preservation, revitalization, social and environmental awareness, as well as economic development such as attracting tourists. Additionally, it offers recommendations for sustainable practices and community engagement to ensure the continuity and relevance of street art projects.

The purpose of the article is to justify the uniqueness, tourist attractiveness, and advantages of using the historical planning of Cherkasy and its architectural monuments (dated to the late 19th – early 20th century) in urban tourism. In this context, the current state of preservation and integrity of the city's historical architecture is analyzed, along with the challenges and prospects of its using as a tourist resource. Methods of the research includes a review and analysis of literary and archival sources; the historical method is used to study the genesis and development of the city's architectural and urban heritage; the field research helps gather information about the current state of preservation of architectural monuments and their adaptation for excursion activities; the cartographic method is applied as a visual tool to analyze the degree of integrity of the city's historical center. Results. It has been found that the relatively high potential of utilizing Cherkasy's architectural heritage as a resource of urban tourism is determined by the uniqueness and tourist attractiveness of the historical city plan, designed by architect William Heste, and the preserved architectural monuments (dated to the late 19th – early 20th century), particularly those attributed to architect Wladyslaw Horodecki. It has been determined that the main challenges of using this architectural heritage in urban tourism include the high degree of its fragmentation (as demonstrated by the created map of the city's architectural heritage area), the lack of proper heritage protection efforts leading to the destruction of historical buildings or to the loss of their authentic appearance, and the uncontrolled construction of modern architecture in the city's historic center. It has been substantiated that effective tools for enhancing the tourist appeal of the city's architectural monuments include creating an information space to integrate them into excursion activities, as well as the rational use of architectural lighting design and street art. It is emphasized that solving the identified issues of protection and preservation, along with additional measures to adapt the city's architectural monuments to modern tourist needs, will contribute to transform Cherkasy into a center of urban tourism and an alternative destination, which will help to alleviate the burden on ukrainian over-touristed cities. The scientific novelty lies in the comprehensive study of Cherkasy's architectural and urban heritage as a latent resource of urban tourism. A detailed map of the city's architectural landmarks has been developed, which is illustrating the specifics of their spatial dispersion and serving as a useful tool for organizing excursion routes. Practical significance. The research results expand knowledge about using of the city's historical buildings in tourism and allow for a reconsideration of their role in contemporary socio-cultural processes. They can be used in the educational process as well as in the creating of programs for tourism development in the Cherkasy region.