Group Markisa – Anti-Tobacco Street Murals

January 26, 2019January 26, 2019 ~ emilyungch ~ Leave a comment

The aim of our project was to raise awareness about emphysema and lung health through appropriating existing tobacco advertisement slogans that target Indonesian core values. Some of these values the tobacco companies exploit include social unity, independence, self-image, willpower and strength (Nichter et al. 2009).

Our biggest challenge was realising how ingrained smoking was in Ambonese Culture. Through our primary and secondary research, we discovered some people genuinely believe smoking is good for them and do not believe that smoking is detrimental to their health; others do not draw the connection that emphysema is a result of smoking. Aziz Adi, a cigarette stockist for Phillip Morris, claimed the cigarette packaging warnings were a ‘conspiracy’ (2019, pers. comm., 14 Jan). He supported this with his personal experience of not knowing anyone who has been affected by smoking in Ambon. We also found that Tobacco advertisements with slogans like “Be Bold”, “Go Ahead” and “Never Quit” were designed to be very attractive to young people, exploiting Indonesian values of adventure, bravery and success (Tjandra 2018).

From this research, we chose to target core values to raise awareness about emphysema as it is more effective than presenting facts which do not change beliefs. We took an approach that relates to daily life, that Indonesians in Ambon will find value in; will resonate with and will impact them.

In the process leading up to our idea, we began with brainstorming. Answering the 5 W’s (who, what, when, where, why, and how), we came up with a few ideas and jumped to solutions that were not targeted at a specific demographic. We narrowed down what we wanted by doing activities together such as body storming and additive ideation canvas (Dunn 2018). We formulated some “how might we…?” questions such as “how might a sensory experience of lung capacity lead to raised awareness for non-smokers at risk?” and passed them around, adding to each other’s ideas spurned by these questions. Out of the ideas we liked the most, we ended up deciding to target the values of the community, specifically the values that tobacco companies target, and subverting their message.

Our response to the design brief is a series of site specific anti-tobacco street murals:

Site specific: Our series of site specific street murals incorporates elements in the local environment to create site specific prompts; bringing attention to mundane objects and sights that usually go unnoticed or overlooked – a metaphor for bringing attention to the symptoms of emphysema that are going unnoticed.

Appropriating tobacco advertisement slogans: The murals combine text and image, appropriating existing slogans of local tobacco advertisements and using them to contradict pro-tobacco messages – taking something familiar to local Indonesians and re-contextualising it to bring attention to the anti-tobacco message; using an element of surprise to make it stand out in the already saturated media environment.

‘Instragrammable’: We aimed to emulate the essence of Penang Street Art being highly ‘instagrammable’ hot spots for tourists and locals alike – visually appealing art that showcases Ambon’s culture and modernity and encourages people to photograph them and post on social media, hence spreading awareness of lung health through word of mouth and social media sharing. Photographs of the murals shared on Instagram and social media could also attract tourists from all over the world to visit Ambon and hence increase local tourism.

Engaging and Interactive: The murals are each a unique photo opportunity, some incorporating physical challenges such as “how long can you hold your breath?”, to encourage people to take photographs with the murals and therefore making our anti-tobacco message memorable and participative.

Raises Awareness and Sparks Conversation: The murals around Ambon will serve as prompts for Indonesians to take care of their lung health and raises awareness about the symptoms of emphysema in hopes for prevention and early detection. The hashtags (#SengMauRokok, #Suara_Tanpa_Rokok, #VisitAmbon2020 and #UTSbuild) and @suara_tanpa_rokok Instagram handle that are painted on the murals links the physical art to an online presence to continue the conversation of reducing tobacco use and spreading awareness of lung health and emphysema.

Mural #1: This is What Your Lungs Look Like if You Smoke

The pair of lungs on the bridge is a site responsive installation making use of the shape of the arched windows – drawing a parallel between the shape on the bridge and the shape of lungs. When one views the mural, the water fills the lungs and looks like tar which is what is in the lungs of a smoker. When the water level is lower in the canal, a lot of rubbish can be seen through the windows – a metaphor for lungs filling up with rubbish when one smokes.

Mural #2: Be Bold – Blow Bubbles Not Smoke

Our mural ‘Be Bold – Blow Bubbles Not Smoke’ subverts pre-existing smoking advertisements to create an anti-smoking slogan. The intention behind this is to create something new out of something familiar, making the viewer stop and look twice. Adding ‘Blow Bubbles Not Smoke’ onto L.A. Bold’s advertising slogan ‘Be Bold’ was inspired by our observations and conversations with locals about their smoking habits. Once heavy smokers claimed they were able to quit by substituting cigarettes for an alternative product such as coffee or lollies. We chose to use ‘bubbles’ as the alternative product on our mural as it is appropriate for all ages and sounds catchy in the slogan. In addition, the slogan allowed for a fun and playful interactive visual that people could engage with and post on social media to gain attention globally.

We painted the mural on a wall just off the main road that connects through the whole city. Its close proximity to the main road allows for high visibility and foot traffic. We chose to locate the mural on a side street as it provides a safe space for individuals to take images that they can then post on social media using the handle and hashtags provided. Painting these onto the mural was inspired by popular street art in Australia. For example, James Gulliver Hancock’s provided only a social media handle on his mural at Bondi Beach, attracting over 11,500 Instagram followers. This solution seemed more plausible than using a QR code sticker as they may easily fall off, ware and tare, and fade overtime. In addition, QR codes require a phone application to scan the codes, which not many people own and hence limiting the users experience.

Mural #3: Mock Up: We Are Stronger Together Without Tobacco

“We are stronger together without tobacco” mural plays on Gundang Garam’s PRO mild cigarette advertisement slogan, “We are stronger”. This mural targets values of masculinity, community, and unity through the image of a fist bump – a celebratory action done between friends.

Mural #4 Mock Up: How Long Can You Hold a Musical Note?

The text ‘how long can you hold a note for?’ is a physical challenge which prompts people to think about their lung capacity. This is also a site responsive installation through the use of the horizontal poles on the wall acting like a music staff.

Where to next?

As Ambon as the pilot, our vision is to see anti-tobacco murals all over Indonesia. We hope to raise awareness about the impacts of smoking and inspire lung health by targeting the core values of community and unity.

A high social media presence would help raise awareness about the murals and lung health. This can be achieved through the hashtags.

Site specific murals will attract locals and tourists to particular locations. Murals with physical challenges (eg. how long can you hold your breath?) will be repeated throughout Indonesia. We hope Vital Strategies will continue this project with the help of along with other communities and organisations. Using our proposed designs, others can be inspired to create their own murals playing on current tobacco slogans and tobacco culture.

References:

Dunn, J. 2018, Additive ideation canvas: “yes, and…”, University of Technology Sydney, viewed 26 January 2019, <https://unisydneyedu-my.sharepoint.com/:u:/g/personal/jdun3386_uni_sydney_edu_au/Ec9zTKJgBSlKg6L7LVtYT2ABzSCEwXMqBovy7KMLA-2n8w?e=rdwGbV>.

Nichter, M., Padmawati, S., Danardono, M., Ng, N., Prabandari, Y. & Nichter, M. 2009, ‘Reading culture from tobacco advertisements in Indonesia’, Tobacco Control, vol. 18, pp. 98-107.

Tjandra, N. 2018, ‘Disneyland for Big Tobacco’: how Indonesia’s lax smoking laws are helping next generation to get hooked, The Conversation, viewed 17 January 2019, <https://theconversation.com/disneyland-for-big-tobacco-how-indonesias-lax-smoking-laws-are-helping-next-generation-to-get-hooked-97489>.

Post C: Yogyakartan Street Art

February 15, 2017 ~ marcellarts ~ Leave a comment

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by Marcella Cheng

Our group mural project in Kali Code was the first time any of us had ever used spray paint in our art-making, and so we were relieved to have been given the assistance of a young Yogyakartan street artist by the name of Mosaif. While he seemed mostly amused at our clumsy attempts, he was always more than happy to help clean up our continuously dripping mural and to answer any questions I had.

As it turned out, Mosaif had been painting since he was young, for about ten years or so, since his high school and university days. He said that most of the street artists start out young like him, just quickly tagging walls to slowly master the spray can. It was interesting to find out this bit of information, as the attitudes towards “graffiti” in Australia tend to be extremely negative and usually illegal. While we would consider young street artists as vandals, Mosaif described the activity as a fun trend and a popular way for the youth to express themselves. This was another reason why street art was more prevalent in Yoygyakarta than Jakarta, he explained, as there was far more youth here.

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Upon researching, this should hardly be surprising as the street art trend can be tracked back as early as 1998, where political graffiti first emerged mostly from student movements during the Reformasi era. In a time of great political upheaval, it is easy to understand how young people especially would have found “putting spray-can nozzle to wall” as a way to engage in political “self-expression and national identification”, a way to claim their city (Lee, 2013). Lee continues to unravel street art as a form of communication between people of all classes, where anyone could read or view the visual protests and in turn, draw their own response. These wall murals have become “an omnipresent feature of New Indonesia’s urban landscape” that Wilson describes as having a “strong social consciousness interlaced with humour… a bold aesthetic and strong commitment to craft” that could only come from the voices of Indonesian youth.

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Another reason why street art is far more popular in Indonesia than Australia, for example, is the incredibly cheap prices of the materials. Even I was shocked, when Mosaif took me to the paint store, that the prices per can averaged from 13000rp to 5500rp (which is $1 – $5 AUD)! When we compared these prices to Australia’s, which averaged $10 per can, as well as the lack of walls to even paint in Sydney, it’s no wonder the art form seems to flourish in Yogya.

References:

All photographs by me (Marcella Cheng)

Mosaif, February 2, 2017, interview

Lee, D 2013, ”Anybody Can Do It’: Aesthetic Empowerment, Urban Citizenship, and the Naturalization of Indonesian Graffiti and Street Art’, City & Society, vol. 25, no. 3, pp. 304-327

Wilson, M. 2003, Sama-Sama/Together, viewed 13 February 2017,
<< http://www.meganwilson.com/projects/118_Sama%20sama-Together/1_sama.php >>

POST A: ART IN SPACE – STREET ART

April 11, 2016 ~ calvinthy ~ Leave a comment

Art can be found anywhere around you. Art can express the messages in a thousand words rather saying words that people will forget as time goes. While I was in Indonesia, I went to visit one of the street village in Yogyakarta, the capital of the Indonesian Island of Java, and it was really an amazing experience. I was really shocked that those street arts in Indonesia are all very graphic, have a very deep meaning and pretty in its own way. Unlike Sydney, Australia, street arts are very contemporary and unique.

Walking through the village in Yogyakarta, it gave me a feeling of depression which shows the artist feels through art. According to MOCAtv that highlights about political street art in Yoyakarta, there are a lot of technique to do art, such as poster sticking and stencil painting just like graffiti. One of the taggers, named Digie Sigit (DS13), said his productions or creations were based on social, humanistic, political culture and concepts of local culture that he got from public. The other tagger is also a street artist who based on street poster. His works are also mainly talking about socio-political issues too.

On the other hand, in the city of Sydney, “art in public places is one of the indicators of a flourishing cultural life. It can add joy, texture and complexity to the public domain, help to define our places, tell our stories, and preserve our memories for future generations.” As myself, one of Sydney people, I feel like art in Sydney shows much more of freedom and contemporary. Talking about street art in Sydney, this is a street art program which is called City Art Program and it is for public art, to support local and international artists and contribute to the creative and cultural heartbeat of the City of Sydney. However, there are some street arts that is based on political and was painted illegally.

There are millions of arts across the world. I think street art is one of the good messenger to give people messages of what to be aware of and what is happening in today’s world.

Reference:

City Art Program, available at <http://www.cityartsydney.com.au/about/city-art-program/>.

Ray, R. 2013, MOCAtv Highlights Political Street Art in Yogyakarta, Indonesia (Video), available at <http://au.complex.com/style/2013/04/mocatv-highlights-political-street-art-in-yogyakarta-indonesia-video>.

Urbancult – Mapping urban art in Indonesia 2014, available at <http://www.mediaarchitecture.org/urbancult-mapping-urban-art-indonesia/>

(POST C) Andres Busrianto and the Geneng Street Art Project

April 8, 2016April 10, 2016 ~ samson_is_chat ~ 2 Comments

For thousands of years art has existed in many different forms and spaces. In the last few decades’ street art has become an integral part of the art world. Often laced with a political or social message; empty walls, streets, public spaces and urban environments have become a large and powerful place for artists to leave their mark. Contemporary public art and street art (sculpture, murals, woodcuts) first started appearing across Yogyakarta during the late 1990’s at the hands of low-key of artist groups. In the early 2000’s graffiti and street art rose to prominence as lots of young creatives began to see it’s potential.

Andres Busrianto (Anagard) is an Indonesian artist who I had the pleasure of meeting on a university trip to Yogyakarta. Busrianto spent his school years drawing and painting, his passion eventually led him on to study fine arts (majoring in painting) at Institute of Art Indonesia in Yogyakarta. In recent years he has found a love for street art choosing to working with detailed stencils.

He draws a great deal of his inspiration from the notion of human existence, his family, friends and social settings. At the heart of his beliefs is egalitarianism, a political philosophy that favours equality: People should get the same, or be treated the same, or be treated as equals, in some respect (Arneson 2002). This can be seen through the imagery in his pieces, which are a “weapon” for protesting against the injustices and corruption caused by the Indonesian government. He hopes that his art can encourage people to look at the world with an open mind and unite communities.

Andres has a strong relationship with Geneng, the village he currently resides in just outside Yogyakarta. A humanitarian at heart, Andres was one of the first people to volunteer to help rebuild the village after a devasting earthquake hit the region in 2006. The Geneng Street Art Project (GSAP) is the “crazy” lovechild of Busrianto and his artist group called Ruang kelas SD. The GSAP is the main annual event on the group’s calendar. The idea to fill the bare walls of Geneng with murals started in 2013 when he joined a free street art tour in Berlin and contributed to street art festivals in Lithuania and Poland. Busrianto believes that GSAP is a way that he can continue contributing to the local community by bringing tourism and providing education.

The most interesting part of this project is that the murals are painted on the side of resident’s houses. He negotiates with village members remaining sensitive to culture, customs and religion. Despite doing his best to mediate with the village, Andres has had clashes with locals about what is put on the walls, having to remove what he has done or change the design slightly. Using social media and the Internet he finds and invites local and international artists to contribute to the GSAP each year.

Unknown-3 — *An artist collaborating on a wall piece.*

Unknown-1 — *The wall owner infront of one of Andres’ mural in Geneng.*

Andres says that art in a gallery is by far the best art but it is often inaccessible in a country like Indonesia. Street art is public art that everyone can connect with, often reflecting the views of the general public. There is something slightly rebellious, which allows it to transcend international cultural differences and unite people who may not have been able to express their thoughts otherwise. He is keen to show the rest of Indonesia and the world the importance of public street art. Looking to the future he wants he wants to document the evolution of the project and turn it into a beautiful coffee table book.

Reference List:

Notes from interview with Andres Busrianto

Arneson, R. 2013, Egalitarianism, Stanford Encyclopedia of Philosophy, Stanford University, viewed 30 March 2016, < http://plato.stanford.edu/entries/egalitarianism/ >.

*All images taken by myself or with permission from Andres’ Instagram*

POST A: The Role Context Plays on Indonesian Graffiti

March 21, 2016April 11, 2016 ~ rommanyo ~ 1 Comment

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People have been witting graffiti on walls and in public spaces since the era of the colosseum, and today contemporary graffiti and street art can be found throughout the world, and has played a pivotal role in many social and political revolutions. When trying to understand graffiti or street art context is key, not only in place but also in time. This is relevant when looking at Indonesian graffiti, and its evolution over the past six decades.

Many people associate graffiti as we know it today as part of the New York hip hop scene of the 1970’s however this is only a tiny aspect of graffiti’s history. The act of drawing on walls has been around since prehistoric times. This is evident in Indonesia in Petta Kere cave in the Leang-leang Prehistoric Park in the Sout Sulawesi Province, which is printed with hand prints and an illustration of a boar, that are thought to be from around 5000 BCE.

Modern graffiti has no one source, however it is often linked to the rise of muralismo in Latin America with artist such as Diego Rivera creating political murals in public spaces during the Mexican Revolution. Similarly contemporary Indonesia graffiti has its roots in political activism. Graffiti became an important aspect of Indonesia’s political scene in the 1940’s when Indonesia was still under colonial rule and fighting for independence, when phrases like like “Bung Ajoe Bung” (Come On Man), “Freedom is the glory of any nation. Indonesia for Indonesians” and “Hands off Indonesia!” began appearing in public spaces. Now days graffiti still has political roots. The murals that can be seen around Yogakarta often hold a political message such as the image below, which deals with the complexities of water ownership in Central Java.

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The context of the graffiti changes the meaning of each political piece, for example the piece of social commentary in Chile below would take on a very different meaning in Yogakarta and in Australia, as abortion is still a illegal in both Chile and Indonesia, therefore the best way to spread awareness and information about this taboo issue is through underground means.

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This is in stark contrast to near by city nation state Singapore where graffiti is not only illegal, but includes caning as corporal punishment under the Vandalism Act of 1966. Therefore to see a piece of graffiti one must understand the local context of the piece for its true meaning and value to be understood.

Refrences

Afiaty Riksa, December 2012, “A short history of graffiti in Indonesia” , Latitudes Media http://latitudes.nu/a-short-history-of-graffiti-in-indonesia/
Dyah Ayu Pitaloka, july 2014, “Exploring the Leang Leang caves of Maros”, Jakarta Globe http://jakartaglobe.beritasatu.com/features/exploring-leang-leang-caves-maros/
Shela Putri Sundawa, august 2014 “Why Indonesia should legalise aborton” Jakarta Sun http://www.thejakartapost.com/news/2014/08/24/why-indonesia-should-legalize-abortion.html

Title images all by author

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POST A- Art on the Wall: Street Art

May 1, 2015May 1, 2015 ~ Ashwin ~ Leave a comment

The relation between an street artist and his or her artwork is seen as an revolt towards a higher power, this post would show this phenomena through evident similarities between the two different cities of Jakarta, Indonesia and Melbourne, Australia on the two well known cities that encourages street art in their own sense. These views are portrayed through the comparison of the lifestyle lived by the street artists to bring change in a political and lifestyle inspired artistry.

Just to clarify, ‘Graffiti’ and ‘Street Art’ are two different genres. The lateral focuses and follows the true meaning of Art, which is …”an experession or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power” (Oxford Dictionary, 2015). In this case the focus is on emotional power one which has been capsulated and has helped build Indonesia back from their harsh experience of oppressive colonialism in World War II. Although Street Art wasn’t invented then, the paintings produced by the artists at the time in the likes of “Affandi Soedjono and others — passionately striving to portray what was truly Indonesian” (Forshee 2006, p 60). This same effect of protistic image are applied today which are evident in the streets of Jakarta, portraying negativism that still lurks among the populous and their government.

Muriel painting by the Street artists Bujangan Urban

In Jakarta and in many parts of Indonesia, street art is encouraged by the community and collaborated with the artists to focus on a specific theme which highlights a certain problem or issue being faced, this is seen as an “effect of street art communities interacting with the community”(MOCA 2013, 5:52) it is seen as an symbolism of power to make change to give sense of hope for the people. In comparison the street art interaction at Housier Lane and other similar streets in Melbourne follows the creative skill and imagination of the artist. As “David Hurlston, the curator of Australian art at the National Gallery of Victoria, says our street art — recognised internationally mainly for aerosol and stencil works — is arguably “the most distinctly identifiable cultural and contemporary artistic movement to have occurred in Australia over the past 30 years” (Sydney Morning Hereld, N. Rousseau 2012) and preserved as a National Heritage site to be viewed by tourists from in and out of the country. Some of the artworks includes that of internationally recognised street artists like that of the works of Banksy and his stencil art piece the Little Diver.

The ‘Little Diver’ by Banksy can be viewed in Cocker Alley, off Flinders Lane, Melbourne. The stencil has been protected by a clear perspex screen.

As the saying goes “a picture speaks a thousand words”, and street art can be viewed as a voice that louden the cries of the people, to express ideas, expand ones imagination, and sometimes to make you feel inspired. It is important that we hear them all and encourage preserving them.

References:

Oxforfd Dictionary n.d., viewed 29 April 2015. <http://www.oxforddictionaries.com/definition/english/art>

Forshee, J. 2006, Culture and Customs of Indonesia, Greenwood Publishing Group, United States

MOCA 2013, Global Street Art-Jakarta- Art In The Streets- MOCAv, Youtube, viewed 29 April 2015, <https://www.youtube.com/watch?v=r-pp1m7mp3k>

Rousseau, N 2012, Paste modernism, Sydney Morning Hereld, Website, Last Viewed 29 November 2015 <http://www.smh.com.au/entertainment/art-and-design/paste-modernism-20120120-1q9p5.html>

Images:

Santai bro,viewed 1 May 2015 <http://bujangan-urban.blogspot.com.au/>

Anthony Lister in Hosier Lane,Paste modernism, viewed on 1 May 2015 <http://www.smh.com.au/entertainment/art-and-design/paste-modernism-20120120-1q9p5.html

POST A: Indonesian Culture and Street Art

April 29, 2015May 1, 2015 ~ loxley92 ~ Leave a comment

Street art in Indonesia has matched global growth accelerating from 1990 – now. This was around the Raformasi period (LEE, D 2013), a time of economic crisis in the region, political chaos and bloody confrontations that led to the downfall of Soeharto’s 30 year reign.

Between 1998 and 2003 street art was largely more political, driven by the student movements and protests at this time. After the fall of Soeharto’s reign marked a new freedom of expression(LEE, D 2013), beginning a new era of creativity that would transformed Indonesia’s cultural scene, with cities such as Yogykarta becoming a hub for art, design and culture.(LEE, D 2013)

These days Yogyakarta is plastered with street art in many forms, whether socio-political or just for pure self expression just as most cities in the world are. But unlike most cities the freedom is more apparent , this is highlighted in an exhibition held from July to August in 2010, the Salihara gallery in South Jakarta, hosted an exhibition entitled Wall Street Arts. The exhibition featured seven artists from Indonesia and six artists from France. one of the most memorable moments was a mural painted on an overpass across the road from the South Jakarta’s prestigious Cilandak Town Square. The Mural was a collaborative project between French and Indonesian artists that was sanctioned off and protected by the local police while they defaced public property for the event. The french artists stunned compared to Paris where they are hunted and hold marginal positions in French society. They were to see to the spatial and cultural openness that Indonesian street artists enjoy. (LEE, D 2013)

Popo one of the most prolific street artists in Indonesia believe that “any graffiti, from the most primitive signature to the highly elaborate tags that follow global graffiti styles and conventions, could be considered street art as long as there is a discernible aesthetic to it. One does not have to be an artist to make street art. Anyone can do it.” For these events many gatherings occur throughout the year, with many gatherings of youth’s sticking together and forming groups such as the Anti Tank Project, most of which talk about political issues in their everyday life(MOCA, 2013,). Community is a a major part of the street culture, with most of them meeting online, or through websites and facebook groups such as the indonesian street collective.

Apart from the local youth culture and street “artists” like POPO, Indonesian street art also has commercial aspect to it on a global scale. An artists who demonstrates this is Eko Nugroho a Post Raformasi artist who mixes pop influences with Indonesian Motifs, touching on issues of identity and democracy(Kolesnikov-Jessop, Sonia. ) much like the work of Camille Rose Garcia an American artists who uses Disney inspired pop culture references to make social commentary.

Nugroho- ”I like strong visuals. I’ve never used such strong colors before, sometime they are hurting the eyes, but the underlying idea is still about democracy and the freedom,” (Kolesnikov-Jessop, Sonia.)

Nugroho has collaborated with some major artists around the world, but one project that stands out to me is the collaboration between Nugroho and Luis Vuitton where the creature portrayed on this scarf is “a compilation of the democratic idea’s in Indonesia, colorful and complicated, a symbol of today’s society,” Mr. Nugroho said in a recent interview in Singapore. ”Our democracy is still very young, not fixed yet.” and to put those political views into the world stage is a mighty feat.(Kolesnikov-Jessop, Sonia. )

I have only touched the surface of street art and the growing freedom and popularity of it in Indonesian culture, but am very interested in how it shows the development of a free and artistic nation.

References:

Indonesian Stret Art Database, 2015, Viewed 30th April 2015 <https://www.facebook.com/indonesianstreetartdatabase>

LEE, D 2013, ”Anybody Can Do It’: Aesthetic Empowerment, Urban Citizenship, and the Naturalization of Indonesian Graffiti and Street Art’, City & Society, vol. 25, no. 3, pp. 304-327. Available from: 10.1111/ciso.12024. [28th april 2015].

MOCA, 2013, “Global Street Art – Jogja – Art In The Streets – MOCAtv”, Viewed 27th, April 2015, <https://www.youtube.com/watch?v=E698RDzZJAs>