Street Art as a Tool for Social Dialogue: A Case Study of Tula

Yazykov Dmitrii Sergeevich ORCID: 0009-0008-8120-2291 Artist, Individual Entrepreneur IAZYKOV DMITRII г. Тула, ул Болдина 98-а офис 403 Info@topgraffiti.ru

Introduction

Street art ("street art") is a distinctive manifestation of modern craftsmanship that goes beyond the traditional framework of artistic technique, skill level and style of performance. Its essence lies not in the technical capabilities of the artist, but in the underlying idea designed to attract the attention of the viewer. This art form, a relatively modern phenomenon, is inherently urban, thriving exclusively in the public domain of street spaces, where it interacts with the urban environment in a uniquely symbiotic way. On the one hand, the urban character of street art emphasizes its existence as a spatially connected object that directly interacts with the urban landscape and, as a result, with the public sphere in which it lives.

On the other hand, street art arises as a sociocultural phenomenon, suggesting that its meaning goes beyond the physical representation and includes its reflection in the collective consciousness. It embodies cultural intention and serves as a product of culture, materializing in a certain socio-cultural space-time context and constantly being produced and reproduced through human social practices. This characteristic highlights the role of street art in solving socially significant problems, covering social, philosophical, political and environmental issues that are often depicted in the works of street artists ^[1].

In addition, the intrinsic nature of street art as a sociocultural phenomenon facilitates its consideration as a form of communication between street artists and their audience. This aspect takes street art beyond simple artistic expression, recognizing it as a catalyst for social interaction in urban spaces. This perspective recognizes the communicative potential of street art, which is especially relevant in the transition to an information society, where information, communication and the media are becoming crucial. Through this lens, street art is positioned as a dynamic interface that promotes dialogue and engagement of urban actors, thereby contributing to a lively discourse that shapes public spaces and collective memory.

This study aims to go beyond the assumption of the universal importance of street art for social dialogue by analyzing its role and influence in a specific socio-cultural context of Tula ^[2].

The main purpose of this study is to analyze the complex interaction between street art in Tula and its potential to promote social dialogue, as well as to carefully examine the assumptions associated with its universal recognition and influence on the identity of the city. This involves a detailed study of how street art reflects, influences, and sometimes challenges collective identity and social dynamics, taking into account various stakeholders, from local artists and residents to city authorities and external sponsors.

The relevance of this research is due to the growing role of street art in shaping the urban environment and promoting public discourse. By focusing on Tula, the study bridges a gap in understanding the functions of street art in small, historically affluent cities outside the global megacities that are commonly associated with this form of urban expression. This research is timely, given the growing interest in how art affects public spaces and public identity, especially in post-Soviet contexts where public expression has undergone significant transformations.

This study also presents a new approach to the analysis of street art by integrating sociological research with urban cultural studies, thereby offering a multifaceted view of its significance for social dialogue. Unlike previous studies, which often highlighted the aesthetic and thematic aspects of street art, this work emphasizes the need for accurate attribution and examines the diversity of opinions and intentions behind street art projects. Through a detailed analysis of street art initiatives in Tula — from the massive efforts of local youth subcultures to works commissioned by the city administration — the article sheds light on the various narratives that merge into the urban landscape. This approach allows us to better understand the role of street art as a mirror of social values and a catalyst for change.

The interaction of street art with urban space

When examining the role of street art in the urban landscape, it becomes obvious that its influence goes beyond simple visual improvement, deeply affecting the spatial and social structure of cities. This segment focuses on the symbiotic relationship between street art and the urban environment, highlighting the transformative power of such art forms in rethinking urban landscapes and the perceptions of those who inhabit them.

The integration of street art into the urban environment goes beyond the traditional boundaries of art, integrating into the very essence of the city and changing its appearance and identity. J. Armstrong ^[3] argues that street art rethinks urban spaces, filling everyday elements such as doors, windows, fences and walls with new meanings and goals. A political poster or monochrome stencil on these surfaces invites citizens to reconsider their everyday urban background, thereby contributing to a "new vision" of the urban environment. This recontextualization of urban surfaces not only challenges traditional perceptions, but also strengthens the dialogue between the city and its inhabitants.

The interaction of street art with the city is deeply influenced by the nature of its locations. They are often concentrated on certain streets or neighborhoods that may be characterized by their social and economic status — from marginal, decayed neighborhoods to prosperous, bustling neighborhoods. The nature of these spaces significantly influences the perception and impact of street art, emphasizing the importance of understanding urban dynamics when studying this art form.

Anna Vaclavek's seminal work is a pioneer in the conceptualization of graffiti and street art as inherently spatial and urban phenomena, marking a new stage in the academic study of these forms of self-expression. In contrast to earlier studies on subculture or criminalization, Vaclavek emphasizes the mutual influence of street art and the material urban environment. She argues that street art acts as a powerful tool for creating new urban locations, rethinking the boundaries between public and private spaces, and developing an alternative urban syntax. Unlike public art, which uses privileged urban spaces, street art interacts with marginal spaces, positioning the street artist as a connoisseur of the city who reinterprets the city through play and irony ^[4].

N.A. Tsygina ^[5] defines contextuality as a defining characteristic of street art, asserting its inseparability from the urban context. The city serves not just as a canvas, but also as a partner in creativity, where the urban environment is transformed, acquiring new meanings and significance for its residents. T.N. Artsybasheva and O.I. Agramakova ^[6] further elaborate on the complex and contradictory nature of the relationship between street art and urban spaces. They distinguish two main forms of interaction: the "revitalization" of the city, where art is aimed at harmonious integration and aesthetic improvement, and the "reclamation" of urban space, where the artist acts more like a rebel expressing dissent. This dynamic highlights the multifaceted ways in which street art interacts with and influences urban spaces.

In conclusion, the interaction between street art and urban space is crucial to understanding the transformative potential of art in the city. Due to its ability to rethink and recontextualize the urban environment, street art offers a unique prism through which to explore and appreciate the complexities of urban life and space.

Street art as a way of communication between the artist and the viewer

Street art emerges as a dynamic form of communication that bridges the gap between the artist and the urban dweller by embedding messages into the architectural canvas of the city. This form of urban expression transcends traditional art, offering a dialogue as diverse as the city itself. The study of street art as a communication strategy reveals its profound impact on urban communities, fostering interactions that change the perception of public spaces.

The work of cultural critic A.A. Egorova ^[7] emphasizes the ability of street art to evoke a diverse reaction from urban residents during their daily interaction with the urban environment. This opinion is shared by S. Billro ^[8], who recognizes the ability of this art form to change the everyday experience of navigating urban spaces. Moreover, A.Y. Zaslavskaya ^[9] identifies one of the most characteristic features of street art: his ability to engage the viewer in dialogue by presenting a variety of narrative programs that invite interpretation and reflection.

L. Correa ^[10] conceptualizes street art as a unique form of urban intervention, where various urban surfaces become channels of communication between the artist and the observer. These interventions are not static; they evolve with the city and its social sphere, influencing how we perceive ourselves and the urban environment around us. The city, in turn, reflects the collective experience and personal stories of its inhabitants, which makes it a complex space of interpersonal interactions and communication. In addition, Correa argues that urban spaces are filled with situations of consensus and conflict, illustrating the city's connection to the uneven distribution of capital. Some organizations may claim primarily urban spaces, but street art demonstrates that even less influential actors, including street artists, have the ability to express themselves. Thus, urban dialogues are inherently linked to power relations, but they also provide an opportunity for dissenting voices to challenge established norms.

With. Hansen ^[11] seeks to understand the public's attitude to street art by analyzing the removal of Banksy's painting "No Ball Games" (Fig.1) and the subsequent public outcry. Various public opinions about this event highlight the complexity and ambiguity of the perception of street art by the general population. This case, like the world of street art in general, reflects a subtle and often controversial assessment of street art by ordinary citizens.

Figure 1 - Banksy's work "Without ball games"

Figure 1 - Banksy's work "No ball games".

Source: the artist's website https://www.banksy.co.uk

To sum up, street art functions as a powerful way of communication, allowing artists to interact with the public in meaningful ways. Due to its ability to transform urban spaces and provoke dialogue, street art challenges traditional ideas about art and its role in society. This not only reflects the artist's intent, but also invites the viewer to participate in a broader conversation about the urban experience, identity and community. This communicative exchange enriches the urban landscape, offering new perspectives and opportunities for interaction in public spaces of the city.

Street art and social dialogue in Tula

The phenomenon of street art in Tula serves as a convincing example in the framework of a broader study of its function as an instrument of social dialogue. This study shows how the immediacy and accessibility of street art are turning urban spaces around the world into platforms for discussion and reflection, with Tula experiencing a particularly powerful impact. As emphasized in previous sections, street art in Tula not only reflects, but also actively forms the identity of the city, creating a dialogue between the artist and the urban landscape, which is rich in socio-cultural themes.

In Tula, artists take to the streets to comment on pressing issues - from local politics and social inequality to celebrating cultural events, turning street art into a tangible snapshot of the mood of the city at any given moment. These works do not just decorate; they involve the community in a conversation about its history, problems and achievements, thereby acting as a public diary that tells about Tula's journey through time ^[12].

The importance of street art in Tula can best be understood through a detailed study of specific works of art and initiatives that highlight the diversity of topics addressed by artists and the different ways street art functions as a tool of social dialogue. 

Figure 2 – Graffiti on the Kazan embankment of Tula (Peter 1 and Nikita Demidov)

Figure 2 – Graffiti on the Kazan embankment of Tula (Peter 1 and Nikita Demidov)

Located on the Kazanskaya Embankment, the artwork depicting Peter 1 and Nikita Demidov (Fig. 2), key figures in the region's industrial production and factory construction, serves as a vivid reminder of the historical depth of Tula. Created during restoration work from April 24 to May 5, 2023, after demolition caused by renovation work in the fall of 2022, this work reflects the pride of the city and its industrial heritage. The decision to focus on historical themes during the restoration highlights the purposeful efforts to preserve Tula's collective memory and identity through visual narratives. The work of art not only perpetuates the contribution of these historical figures, but also enlivens the urban space that it decorates, turning the gray city wall into a canvas connecting the past and the present.

Figure 3 - Graffiti on the protective barrier of the monument "Defenders of the Sky of the Fatherland"

Figure 3 - Graffiti on the protective barrier of the monument «Defenders of the Sky of the Fatherland»

By order of the Tula administration, this graffiti was designed to aesthetically decorate the territory around the monument to the Defenders of the Fatherland Sky (Fig. 3), while simultaneously visualizing episodes of the heroic defense of the city during World War II. The project, carried out by graffiti artist Dmitry Yazykov from September 8 to 15, 2015, was aimed at tidying up the appearance of the fence adjacent to the monument and reflecting the moments of courage of the city. Yazykov's works, executed in a black and white palette, organically fit into the surrounding environment, offering a year-round reminder of historical valor. This initiative highlights the role of street art in beautifying public spaces, while fostering a deeper connection with local history and valor.

Figure 4 – Graffiti dedicated to doctors during the COVID-19 pandemic

Figure 4 – Graffiti dedicated to doctors during the COVID-19 pandemic

In response to the difficult situation created by the COVID-19 pandemic, and in recognition of the tireless efforts of health workers, the city administration commissioned a mural as a sign of gratitude on the eve of the upcoming Day of the Medical Worker (Fig. 4). Dmitry Yazykov, who carried out this project in the period from June 9 to 22, 2020, decorated the facade of the five-story building with tribute respect for doctors fighting the pandemic. This 3D-rendered artwork not only demonstrates the city's appreciation for its medical community, but also serves as an example of how street art can convey relevant social themes and glorify collective efforts in times of crisis. The rapid completion of the mural by Yazykov, who partially worked all night to meet the deadline, testifies to the urgency and respect for the dedication of medical workers.

Figure 5 – Sketch of the "Reading boy"

Figure 5 – Sketch «Reading boy»

Located at 20 M. Gorky Str., Tula, next to library No. 20, Evgeny Dvornikov's sketch from St. Petersburg "Reading Boy" (Fig. 5) reflects the essence of youth and curiosity. This work, depicting a boy immersed in a book, symbolizes the timeless charm of literature and the value of education. Serving as a reminder of the eternal pursuit of knowledge, the work transcends age and era, emphasizing the ability of street art to inspire and educate. Dvornikov's choice of a simple but profound topic invites passers-by to reflect on the role of reading and learning in personal growth and advancement in society.

Figure 6 – Graffiti "Leo Tolstoy"

Figure 6 – Graffiti «Leo Tolstoy»

This mural (Fig.6), created by the famous writer Andrei Shep in the abandoned building of the former factory "October", perpetuates the iconic Russian writer Leo Tolstoy, drawing attention to his invaluable contribution to world literature. The vivid image not only glorifies Tolstoy as a literary genius, but also serves as a source of inspiration, emphasizing the enduring influence of literature and art on the development of society. Paying homage to a figure of Tolstoy's stature, the work of art bridges the gap between history and modern culture by encouraging dialogue about the significance of cultural and intellectual heritage.

Figure 7 – Graffiti "Clock"

Figure 7 – Graffiti «Clock»

Maxim Galimov's graffiti "The Clock" (Fig.7), located in Tula on Gogolevskaya Street, 94, is a different narrative focused on the inexorable passage of time. This detailed image of the clock, perhaps hinting at the transience of life and moments, encourages viewers to think about the passage of time and the importance of cherishing every second. Unlike other works that could be devoted to individuals or literature, this work offers a universal reflection on the temporality and condition of man, demonstrating the ability of street art to touch on existential themes and provoke introspection among its audience.

Together, these works provide a comprehensive overview of the cultural and philosophical foundations of Tula, combining art, history and social reflection through street art. Many street art works in Tula are more than just a passive exhibition, they are designed to be interactive, inviting viewers to get to know the works directly. Whether it's wall segments left unfilled so that community members can contribute, or installations that develop with public participation, Tula street art promotes active participation. Such initiatives bridge the gap between the artist and the observer, turning art into collaboration and encouraging a deeper sense of community involvement.

It should also be noted that artists use their work to draw attention to environmental issues, protect human rights, or highlight the struggles of marginalized groups. These works of art, often strategically placed in places with heavy traffic, force passers-by to face problems that they might otherwise not notice, which makes street art an influential ally in information campaigns and social movements ^[13].

As Tula's reputation as a city of canvases grows, it attracts artists from different regions and countries, leading to an enriching exchange of ideas and styles. This cosmopolitan combination of influences ensures that the street art scene remains dynamic, introducing residents to global perspectives and offering international artists an understanding of Tula's unique cultural structure.

Thus, street art in Tula is much more than just an aesthetic addition to the urban landscape. It is an instrument of dynamic dialogue, a keeper of memories, a supporter of change and a testimony to the constantly evolving spirit of the city. 

Consequences and far-sighted prospects

As street art continues to shape Tula's sociocultural landscape, its broader implications resonate outside the city. The ways in which Tula has used this form of urban expression provide insights and lessons that can be extrapolated to other urban environments around the world. Moreover, it encourages a far-sighted view of the changing role of street art in urban development and community creation.

Tula's efforts in the field of street art have not only enriched its cultural structure, but also brought tangible benefits to urban spaces that were previously characterized by neglect. Areas that were once shunned by locals due to dilapidation or security concerns have turned into centers of social activity, attracting both locals and tourists. This form of urban revitalization is cost-effective, community-oriented, and can serve as a model for other cities seeking to renovate public spaces.

The inclusive nature of street art projects in Tula contributed to strengthening the sense of community. By involving citizens in the creative process — whether as artists, contributors, or curators — these initiatives empower people to play an active role in shaping their environment. Such collaborative art projects can play an important role in fostering civic pride, fostering mutual respect, and encouraging active community participation.

Tula street art has also become a powerful educational tool that introduces residents and visitors to the city's history, values and aspirations. Cities can use similar projects to inform their populations about local heritage, social issues, and shared values. Moreover, by integrating digital elements such as QR codes or augmented reality, street art can offer an immersive educational experience that will appeal to the tech-savvy younger generation ^[15].

With the themes of unity, diversity and shared history, Tula's street works actively fight the fragmentation of society. They promote dialogue and mutual understanding between different groups by creating platforms where different points of view converge. Taking similar initiatives in cities facing social divisions can promote cohesion.

Despite the fact that the influence of street art in Tula is overwhelmingly positive, it is important to anticipate potential problems. Issues of art conservation, public space management, and ensuring that the voice of the entire community is represented are areas that require attention. In addition, as street art becomes commercialized or used for branding and tourism, there is a risk of blurring its authenticity and essence for the masses.

Conclusion

This study of street art in Tula highlighted the profound impact that urban art forms can have on both the physical and socio-cultural landscape of the city. Through in-depth analysis of specific works of art and initiatives, this study has revealed the diverse topics that street artists are engaged in, and the many ways in which street art serves as a powerful tool for social dialogue. From historical events on the Kazanskaya Embankment to honoring health workers during the COVID-19 pandemic, each piece of art reviewed here not only decorates the urban environment, but also promotes a dialogue that goes beyond the visual and touches on deeper socio-political and cultural aspects.

The example of Tula is a compelling story about how street art, as a modern urban phenomenon, thrives in the public sphere, directly interacting with the community and the architectural canvas of the city. This confirms the idea that street art is determined not by the technical skill of the artist, but by the ability of the idea behind the work of art to attract the attention of the viewer and provoke reflection. As this study showed, street art in Tula acts as a cultural intention and a product embedded in a certain socio-cultural space-time, continuously generated and regenerated through the social practices of individuals.

Moreover, the role of street art in solving socially significant problems — whether social, philosophical, political or environmental — emphasizes its function as a form of communication between artists and their audience. This communication aspect is especially important in the era of transition to the information society, where the interaction between information, communication and the media is becoming increasingly important. In Tula, street art initiates social interactions between urban figures, offering a platform for expressing disagreement, celebration and public memory, thereby enriching urban dialogue.

In conclusion, this article provides arguments in favor of recognizing street art as an urban and socio-cultural phenomenon capable of turning urban spaces into forums for public discourse and reflection. The works of art in Tula, through their interaction with the historical, social and cultural structure of the city, illustrate the dynamic potential of street art to act as a mirror of society, reflecting and shaping collective consciousness. Due to its communicative power, street art in Tula not only decorates, but also conducts dialogue, educates and inspires, which makes it an indispensable component of the urban landscape and a vital factor in the socio-cultural dynamism of the city. In fact, street art embodies the spirit of Tula, serving as a visual chronicle of its past, a commentary on the present and a vision of the future.