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This paper contributes to social and cultural geographies of the COVID-19 pandemic through an exploration of the role of UK street art in documenting the remarkable shifts in the practice of wearing facemasks, the tensions and emotions involved, and the transformations in the meaning of facemasks during the pandemic. Street art has become an important outlet for political critique and social engagement, capturing the public mood in response to policies and recommendations attempting to stem viral transmission, including the requirement to wear facemasks in some public places. Drawing primarily on image analysis of street artworks produced during 2020 and sourced using online search tools, and qualitative interviews with UK street artists in 2020 and 2021, the paper first explores the changing geographies and politics of street art during the pandemic. It then examines the ways in which street art portrays mask-wearing simultaneously as reassuring, protective and fear-inducing, and reflects the meaning of masks in relation to protecting public health, managing anxieties concerning health risks, boosting morale, and symbolising solidarity and public spiritedness. The paper argues that pandemic street art contributes to public dialogue by articulating emotion and deeply held concerns, and communicating the intimate politics, semiotic meanings and social properties of objects associated with disease. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Every society deploys narratives concerning the phenomenon of domestic abuse which serve to downplay and normalise it. Drawing on qualitative research with survivors in Malaysia, and working from a feminist postcolonial framework, this paper explores how the notion of demonic possession is used by survivors and perpetrators as a metaphor for domestic abuse, and a narrative to make sense of and excuse it. The idea of demonic possession has utility because of its close fit both with perpetrators' behaviour and the symptoms experienced by survivors with trauma. The research focuses on the intimate dynamics of abuse, including coercive control and intimate captivity, and the pivotal role of possession and trauma in the successful exertion of control and in extending the damaging effects of abuse. We argue that demonic possession reflects another way in which globally endemic practices of domestic abuse are justified and explained; it provides a means for perpetrators to evade responsibility for abuse, and a way in which the pernicious effects of both abuse and trauma on survivors, their families, and wider society are sometimes dismissed. The paper highlights the significance of culturally sensitive approaches to domestic violence and trauma as a counterpoint to western‐centric understandings. It also stresses the need for locally generated approaches to awareness raising and support services in Malaysia and elsewhere. [ABSTRACT FROM AUTHOR]