The roots of graffiti culture can be traced back to West Berlin in the early 1980s, when the
American-occupied sector was the reluctant melting pot of anarchist punks, Turkish immigrants and West
German draft resisters. Kreuzberg, a neighborhood surrounded on three sides by the Berlin Wall, blossomed
particularly well, with miles of wall space and little police scrutiny.
The first so-called writers were heavily influenced by the New York City scene. Works about the time, like the
1983 film “Style Wars” by Tony Silver and Henry Chalfant, and the 1984 book “Subway Art” by Mr. Chalfant
and Martha Cooper, enjoyed a cult following.
But while the west face of the Berlin Wall was blanketed with graffiti, the east face was orderly and gray. The
notorious Stasi police kept graffiti under wraps, and writers in East Berlin risked imprisonment or worse if
they were caught red-handed with spray cans — assuming they could even get their hands on paint.
All that changed, of course, with the fall of the wall in 1989, which opened up vast new blank walls virtually
overnight. Artists, musicians and young people flooded East Berlin, heralding a shift in the youth culture
from west to east. The pockmarked walls of Mitte, Friedrichshain and other gray neighborhoods were soon
carpeted in colorful squiggles.
Graffiti may be vandalism, but it is also celebrated as street art and even regarded as an integral component
of Berliner Strassenkultur.
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