Patrick Edem Okon*, Okon Effiong Udoyo and Nwanchor Uchenna Alefia
This paper examined the relationship between graffiti writing and the law in Nigeria, with specific focus on the regulatory regimes available to graffiti arts and artists. Qualitative research design and methods were used, with oral interview and documentary study preferred for empirical investigations. Four respondents were orally interviewed. Some online documents – legal materials, newspaper reports, and academic writings – were also studied. Findings revealed that graffiti were now accepted as legitimate arts in Nigeria. In regulating the disturbing aspects of graffiti, the same sets of rules used for the mainstream arts were being applied. The available rules were, however, considered as inadequate for the effective governance of the online documented graffiti to control abuses. But where the existing rules were properly enforced and obeyed, there would be the rightful recognition of the artists, the appreciation of their style of art, and improved income for the artists and the country at large, among other benefits. For a better regulation and graffiti writing in Nigeria, artists should collectively work to ensure timely and broad distributions of knowledge about the ethics of the practice for new entrants; there should be increased allocations of writing spaces for graffiti artists across the States to encourage the practice, promote the aesthetics of local communities, provide alternative therapeutic avenues for disenfranchised youths, and reduce the chances of malicious damage to public property. The Nigerian governments should also establish a visionary, credible and viable council to best manage the alternative art sector.
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