Bali Street Art in Relation to the

Promotion of Sustainability in Tourism

[Research Writing]
[October 2023]

By
[Radif Ariapratama]
[Matthew Ethan Setiawan]

BTEC HND IN DESIGN

BTEC HND IN MUSIC
[GRAPHIC DESIGN]
[SOUND DESIGN]
ABSTRACT
Contemporary street art in Bali has become a significant platform for
activists to express and display their concerns about sustainability amidst the rapid
growth of tourism. This paper goes into the intersections of Balinese street art,
tourism, and sustainability, aiming to understand the effectiveness of street art in
promoting sustainable tourism. Through qualitative research methods, interviewing
a prominent Balinese street artist Slinat and his insights for his motivations,
perspectives, and challenges facing artists in advocating for sustainability. By going
into the complexity of art, tourism, and sustainability, this research paper
contributes deeper to the role of street art in fostering cultural appreciation,
environmental advocacy, and community resilience in Bali’s tourism landscape.
The importance of collaborative efforts among artists, policymakers, and
stakeholders in harnessing the transformative potential of street art to create a more
sustainable and culturally conscious tourism industry in Bali.
 Table of Contents
1. Introduction
1.1. Background
1.2. Research Questions
1.3. Thesis Statement
1.4. Literature Review
1.4.1. The Negative Effects of Tourism in Bali
1.4.2. Street Art in Activism
2. Methodology
2.1. Method of Research
2.2. Questionnaire
2.3. Limitation of Research
3. Research Result
3.1. Interview
3.2. Synthesization of Data
3.3. Discussion
4. Conclusion
4.1. Analytical Summary
4.2. Recommendation
5. References
6. Appendix A: Interview
 CHAPTER 1
INTRODUCTION

1.1 BACKGROUND
Contemporary street art has emerged as a powerful medium through which activists
express their concerns and messages, with sustainability taking center stage in these
artistic narratives. In the global landscape, the promotion of sustainability has
become a pressing matter, urging activists to utilize unconventional platforms to
convey their environmental messages. Among the myriad forms of expression,
Balinese local artists intricately weave together cultural tales and sustainability
advocacy. Street art, known as graffiti in the individual sense, is seen as
socio-cultural and political in action, as well as being the works that reflect the
feelings and thoughts of the society in which the discourses are expressed through
these efforts (MacNaughton, A. 2007).

Balinese street art is not merely an embellishment of urban spaces; it serves as a

narrative for the stories of local communities. In the rich tapestry of Balinese
culture, history, and contemporary issues, street art plays a pivotal role in educating
and engaging visitors. The art becomes a living, breathing entity, fostering an
exploration where tourists transition from passive spectators to active participants
in the preservation and promotion of local narratives.

The synergy between street art and tourism holds particular significance in the
context of sustainable tourism. The importance lies in the formation of a symbiotic
relationship between locals and tourists, contributing to a more sustainable and
culturally conscious industry. As the brushstrokes on walls tell tales of Balinese
heritage, struggles, and triumphs, tourists are not only drawn into the aesthetics but
are invited to delve deeper, to understand, respect, and actively contribute to the
preservation of the cultural and environmental heritage of Bali.

The intersection of Balinese street art, tourism, and sustainability represents a

dynamic space where art transcends mere aesthetics, transforming into a catalyst
for cultural exchange, community empowerment, and environmental responsibility.
Exploring the motivations of artists, the impact of street art on tourism, and the
effectiveness of conveying sustainability messages, unraveling the intricate threads
that weave together the narrative of a Bali that is both artistically vibrant and
environmentally conscious.

1.2. RESEARCH QUESTIONS

This research poses two questions about street art and its relation to
sustainability in tourism. How effective is street art in promoting sustainable
tourism? And how are tourists influenced by Balinese street art in their decision to
become more sustainable?

1.3. THESIS STATEMENT

This research seeks to demonstrate the efficacy of Balinese street art in influencing
tourist perceptions, behaviors, and overall engagement, thereby shedding light on
its role as a dynamic force in fostering sustainability and cultural appreciation
within the context of tourism on the island. Balinese culture goes hand in hand with
art. Street art serves as a potent catalyst for the promotion of sustainable tourism in
Bali, with its vibrant narratives not only enhancing aesthetic appeal but actively
contributing to the cultivation of an environmentally conscious and culturally
engaged tourist industry.
1.4. LITERATURE REVIEW
1.4.1 The Negative Effects of Tourism in Bali
Tourism, in itself, is no accident. The cultivation of tourism is rigorously
planned by governments and institutes to generate economic activity in that area.
Tourism in Bali has been one of the Indonesian government’s greatest focuses
throughout the years. The initial influx of tourism in Bali was a planned
development by the Republic of Indonesia in collaboration with Societe Centrale
pour l'equipement Touristique Outre-Mer (SCETO) in the 1970’s (Picard, 2006,
cited in Hakim, Kim and Hong, 2009, p.3). Through SCETO’s studies, they had
observed that the main driving force for tourism in Bali was its rich cultural
heritage. Dilemmas in this type of tourism were addressed beforehand through a
series of seminars arranged by the Balinese government, which focused on
preservation of culture through protection or even resistance of tourist interaction
with the local culture (Yamashita and Picard, 1999, p.179).
With Bali being such a massive tourist destination it came at the cost of its
surrounding environment. The construction of new infrastructure to accommodate
tourists and use of its natural resources has caused deforestation alongside the
destruction of local ecosystems. Imported waste in addition to the rampant local
pollution further worsens the already poor waste management, which causes even
further damage to the ecosystems. Coral Reefs have been destroyed through mining
and potential tourist recklessness. But the most pressing ecological issue, caused by
tourism, to the local population is the heavy consumption of freshwater in tourist
infrastructure, such as swimming pools and golf clubs. The freshwater supply of
Bali is vital for agriculture, mainly the cultivation of crops and rice, and the overall
ecosystem. (Byczek, 2011, pp. 86-87). Furthermore, several profane cases from
foreigners at temples and the destruction of sacred artifacts have been caused by
irresponsible tourist behavior (Raka, Parwata and Gunawarman, 2017 pp. 62 - 64).
 Through foreign intervention, locals in Bali have long feared the
commodification and loss of their rightful cultural heritage. Social tensions also
seem to be on the rise, with inequality and the destruction of traditional, social
customs and even crime creating bad faith to foreigners (Byczek, 2011, pp 87 - 88).
Tourists nowadays are progressively becoming educated on ecological and
sociological issues of destinations they are visiting. As said by Hakim, Kim and
Hong (2009) “New generations of tourists have a high level of education, pay a lot
of attention to conservation issues, are aware of indigenous societies and seek
genuine natural attractions”. Thus, tourists are no longer willing to visit
destinations, such as Bali, without the ease of mind that their visit or the company
that is helping them visit is not damaging the local socio-ecological environment.
However, the development of agriculture and protection of culture does not
necessarily have to oppose the tourism industry. In fact, such industries could
intertwine, promoting agriculture and protecting culture while still retaining the
economic gains of tourism. Byczek (2011, pp. 89 - 91) writes about ecotourism
based on the community of Jaringan Ekowisata Desa, where tourists can stay at a
village and be active in the community. The activities surround the environment
and culture of that village, where tourists see and help in local agriculture as well as
learn about the local culture through arts and crafts, local everyday life, history and
even food. Tourist activities such as these are sustainable, improving the
environment and agriculture, while also preserving culture.
Thus, the incentivised route for tourist planners in developing destinations in
Bali should be to consult the local society and their surrounding cultural beliefs,
which in this case is their beliefs of taking care of their natural surroundings rooted
in Tri Hita Karana, which gives an authentic image of the destination to tourists
(Hakim, Kim and Hong 2009).
Tourism has negatively affected the social and ecological state of Bali
through deforestation from accommodating tourists, pollution directly from tourist
activity and erasure of culture, which creates tensions with the local society.
Nowadays tourists are concerned about the sustainability, both for the environment
and the local culture, of their visit. Thus, it would be a positive for all parties to
promote sustainability in tourism as it allows for the local environment and culture
to prosper while still gaining the economic benefits of tourism.

1.4.2 Street Art in Activism

Using street art would be a great way to get this message of what the local
people want for their home. Truman (2010) talks about how urban street art has
become a popular way for activists to spread their message, commenting how
effective it is considering it disrupts the urban landscape of towns and cities.
Contrasting the visibility of the art is the invisibility of the artist, that allows for
their pieces to be in full focus of conversations as well as provide protection from
targeted harassment and the law. Truman cites the Montreal street artist Roadsworth
as an environmental activist using stenciled street graffiti to comment on oil
consumption and poor city planning. Roadsworth plays with official street
markings and signage to create symbols such as bikes (to represent poor city
planning for bikers), electrical plugs (to represent the reliance on electricity) and
animals (to represent the lack of wildlife in such urban landscapes). Roadsworth
makes an effort to only use the roads the city has already built so as to not damage
the environment.
Roadsworth was arrested in 2004 and subsequently served a $200,000 fine
for several accounts of mischief. While Roadsworth’s works were considered
vandalism, the public was in full support of Roadsworth and demanded city
officials to drop the charges. In the end, because of protests from the public,
Roadsworth’s cases were dropped in favor of community service.
Street art is an invaluable tool to advocate for change in a society. Street art
is visible to everyone and has the potential to muster up impressions from a wide
range of people. Advocating for positive changes that almost anyone can agree
upon gives leverage for real changes to be made in the world.
A new message can be seen through activist work, one that not only criticizes
the capitalist-centric mass tourism industry but also promotes community driven
sustainability efforts from locals and foreigners. Street art has the potential to get
this message across to the wider public eye, which may encourage sustainable
changes in tourist activity and the tourism industry.
 CHAPTER 2
METHODOLOGY

2.1 METHOD OF RESEARCH

The nature of this research requires a firm understanding of the motives of an
artist’s piece, which cannot be found through statistics and analytics alone. Thus,
qualitative research methods will be employed to obtain data for this paper.
According to University of Texas Arlington (2019), “Qualitative research is a process
of naturalistic inquiry that seeks an in-depth understanding of social phenomena
within their natural setting. It focuses on the ‘why’ rather than the ‘what’ of social
phenomena and relies on the direct experiences of human beings”.
The research will be focused on a series of interviews conducted with
Balinese street artists that have pieces with themes of tourism and sustainability.
Touching on their own sustainability efforts in their artworks and other acts of
activism to promote sustainability on the island as well as the feedback they have
received from the public

2.2. RESPONDENT
Slinat, or Silly in Art, has emerged as a powerful voice through his
distinctive murals and the Art of Whatever Store in Denpasar. Slinat's art goes
beyond aesthetics; it serves as a poignant commentary on the complex interplay
between Bali's traditional, agrarian roots and the transformative forces of mass
tourism. Slinat views sustainability as synonymous with respecting nature. His art
underscores the threat of pollution, which disrupts natural cycles, creating
imbalances that jeopardize the delicate flow of ecosystems. Through pieces like
"Kenangan Kesuburan" (Fertility memories), he draws attention to the intrinsic link
between environmental harmony and the sustainability of Balinese culture.A
significant portion of Slinat's work delves into the environmental consequences of
Bali's burgeoning tourism industry. His emblematic portrayal of ancient Balinese
figures wearing gas masks serves as a symbolic representation of the cultural
distortion caused by the tourism sector. Slinat critiques the exploitation of land and
oceans for hotels and villas, emphasizing the urgent need for environmental
restoration.

2.3. QUESTIONNAIRE
1. Do you create art to advocate for your community? If so, what do you
advocate for?

2. What is your view on sustainability in Bali? Both Environmentally and

Culturally

3. Where did you get these views?

4. Are there any artists that inspired your art?

5. Why is preserving Balinese culture so important to its people

6. What is your stance on Bali’s state on tourism and art altogether?

7. Is sustaining art (or culture) still necessary in today’s digital era where
information and images can easily be stored as data?

8. What audience are you hoping your art reaches

9. How have people responded to your art?

 10.How are the current sustainability efforts in Bali?

These questions aim to uncover the intentions and meaning of Slinat’s street
art and what it aims to communicate to the audience. It also gives a rough idea of
the reactions of Slinat’s artworks, many of which display the negative effects of
tourism in Bali. Lastly, it elaborates on Slinat’s strong opinions about protecting the
culture and ecosystem of Bali. Connecting these main points may show how his art
has influenced other peoples thoughts on how sustainable current tourist practices
are, and for them to adopt Slinat’s stance on the protection of culture and nature.

2.4. LIMITATION OF RESEARCH

This research has potential limitations. Mainly due to how niche the topics of
tourism and sustainability are in Balinese street art. There may be artworks that
comment on one or the other, but rarely do they overlap. Therefore, there are few
artists to interview that have substantial knowledge or opinions on tourism and
sustainability. This study has only conducted one interview, due to time limitations
and small number of artists that cover these topics, with one prominent artist,
Slinat, which leads to this paper to be biased by this one artist’s opinions and a lack
of retrospective of how other artists in the space feel about this topic. Especially
because Slinat has a fairly pessimistic view of tourism.
Furthermore, measuring the ‘effectiveness’ of Slinat’s art may be biased and
incomplete, due to the fact that much of this study will measure the effectiveness of
his art through Slinat’s own experience with critics and the general public. Though
this can be remedied by looking at Slinat’s social media posts and reading through
the comments people have made. However, Slinat’s posts seem to receive very few
comments, with most of it being his fans showing excitement for his work with an
emoji instead of critiques or commentary of the work he is posting.
 The Balinese art scene is huge and has had a long history that could have not
possibly been examined in full due to time constraints and the scope of this paper.
However, many details about the art landscape at large and the unique art of Bali
will have not been taken into consideration to contrast Slinat’s art.
 CHAPTER 3
RESEARCH RESULT

3.1 INTERVIEW

Interviewer: Thank you for joining us today, Slinat. Let's delve into your
perspectives on Bali's culture and sustainability.

Q1: Do you create art to advocate for your community? If so, what do you
advocate for?

Slinat: Not necessarily for a community, but more to shed light on how tourism
impacts Bali's traditions and culture. I'm concerned that our identity is being altered
or misrepresented.

Q2: What is your view on sustainability in Bali? Both environmentally and

culturally.

Slinat: Sustainability is vital to preserve Balinese culture and identity. We need to

balance change with tradition to ensure future generations appreciate our heritage
and live in harmony with nature. I know that new tourist hotels, that cause
deforestation, are unnecessary. As existing accommodations are often vacant. I
have also seen tourists who stay in traditional villages, which I think is the proper
way to address the accommodation of tourists.

Q3: Where did you get these views?

Slinat: My perspective comes from observing Bali's evolving cultural landscape
and experiencing the contemporary age firsthand.

Q4: Are there any artists that inspired your art?

Slinat: I draw inspiration from the Dadaism era, particularly its use of gas masks,
reflecting the tumultuous times of WWI.

Q5: Why is preserving Balinese culture so important to its people?

Slinat: Preserving our culture ensures that future generations understand their
heritage and maintain the identity of the Balinese people.

Q6: What is your stance on Bali’s state of tourism and art altogether?

Slinat: Tourism in Bali brings diversity to the art scene, but it also poses challenges
in preserving our cultural integrity.

Q7: Is sustaining art (or culture) still necessary in today’s digital era where
information and images can easily be stored as data?

Slinat: While digital platforms and the internet offer accessibility, they also risk
misinformation and misrepresentation of Balinese culture, emphasizing the
importance of cultural preservation.

Q8: What audience are you hoping your art reaches?

Slinat: I aim to reach a diverse audience, sparking conversation and reflection on
the changing face of Bali's culture and environment.

Q9: How have people responded to your art?

Slinat: Some question why I depict Balinese icons in unsettling ways, but it
prompts viewers to consider the challenges facing Bali today.

Q10: How are the current sustainability efforts in Bali?

Slinat: Efforts like Baliseering, which began in the 1920s, continue to preserve
Balinese language, arts, and culture amidst ongoing challenges.

3.2 Synthesization of Data

Slinat expressed his deep-rooted concerns about the impact of tourism on
Bali's cultural and environmental landscapes. His art serves as a platform to voice
these concerns, advocating for greater awareness and action regarding sustainability
and cultural preservation. Slinat as an artist is motivated to create artworks that
targets everyone, to simply incite a feeling or conversation through his artwork. A
large amount of his artwork has depictions of people wearing a gas mask. This
identity in his work is intended to strike the audience with the change of the
Balinese culture and the environmental state of Bali today.
Slinat's motivations stem from his firsthand observations of the rapid
changes occurring in Bali due to tourism and his desire to provoke thought and
dialogue of the tourism industry. Many of Slinat’s views match the Dutch effort of
‘Baliseering’ in terms of preserving Balinese culture. Although much information
on Balinese culture and nature is well preserved and easily accessible through many
different mediums, physical and digital through the internet, he fears that the
information that is documented is misrepresentative of the actual culture or maybe
even false. The intent of his art is to create an argument on how tourism has
damaged Bali’s changed culture and destroyed natural landscapes in an effort to
increase tourists in the country. Slinat views street art as a powerful form of
activism, capable of reaching diverse audiences and sparking meaningful
conversations. Through his murals, he aims to reveal issues of environmental
degradation and cultural commodification to a widely ignorant population. Slinat's
art serves as a visual commentary on the complexities of Balinese identity and the
challenges posed by unsustainable tourism practices.
Slinat makes it imperative that change is inevitable for the future generations,
to preserve the Balinese culture and not lose identity. But to also be open to change
and make change known, for one of his concerns is how a considerable amount of
the Balinese culture is altered and is depicted to be it’s true original essence, which
would mislead many future generations. Slinat also emphasizes the idea that
humans and nature should live in balance. Expressing his belief that the current
state of humanity views themselves above their surrounding habitats. In the
interview, Slinat poses a question: “If we have so many vacant hotels, why are we
so keen on building new hotels? Why do we destroy more of our land to seemingly
create more opportunities, when we have so much we could already use?’. It does
not make sense for Bali to create more accommodations for tourism, in search of
opportunity, at the cost of existing accommodations and the surrounding landscape.
Consequently, the Bali tourist industry creates competition with itself and destroys
natural selling points of the destination.
The effectiveness of Slinat's art lies in its ability to provoke thought through
the absurdity and horror of his murals. While it may not lead to immediate changes
in behavior or policy, Slinat believes that art has the power to plant seeds of
awareness and consciousness among viewers. By engaging both tourists and locals
in critical dialogue about sustainability and cultural preservation, Slinat hopes to
foster a greater sense of responsibility and stewardship towards Bali's natural and
cultural heritage.

3.3 Discussion
The main point that Slinat was conveying throughout this interview was how
Balinese culture is being altered or destroyed in favor of appealing to the tourism
industry. Slinat desires Bali to represent its rich cultural identity instead of an
identity that appeals to tourism. And, as stated by Hakim, Kim and Hong (2009),
tourists are socio-ecologically educated and thus will find more appeal in a
destination that represents genuine cultural identity and natural beauties. Slinats
work may act as a bridge for both locals as well as international viewers to
reconsider why they uphold a false and damaging image of what Bali is. Slinat
acknowledges the challenges facing street artists in Bali, including censorship,
commercialization, and the risk of misinterpretation. His art has been criticized for
displaying Balinese figures with creepy features, such as his iconic gas mask. It
brings up the question on why Slinat is criticizing tourism when the Bali economy
greatly benefits from it, or in some cases depends on it. Especially after the
pandemic, when Bali lost a majority of its revenue due to international lockdowns.
However, this public discussion is exactly what drives people to reconsider how
sustainable their current practices are, which is one of the research questions posed
in this paper.
Slinat's interview provides valuable insights into the role of street art as a
catalyst for sustainability and cultural preservation in Bali's tourism landscape. His
artwork serves as a powerful medium for advocacy, challenging tourists and locals
alike to reconsider their relationships with tourism in relation to the environment
and community.
 Slinat’s comment on the misrepresentation of Balinese culture on the internet
reflects how much culture has been altered or erased, and brings up the wider issue
of false information on the internet. Slinat’s biggest concern is that the future
generation would then lose sight of what their cultural identity would really be. As
stated in a report by ASSEDEL (n.d.), by sharing false information on many issues,
users can lead to misdirection of other users. Education in regards to ethical
research is imperative for it may help educate the future generation or people in
general to take information in a much critical way of thinking and perceiving. Thus,
he advises that tourists and locals alike discover the true culture of Bali and
question the luxurious image of Bali that they have been exposed to.
Slinat cynically displays these hidden effects tourism has on culture and the
ecosystem, however he displays a sense of hope in what tourism could be. During
the interview, Slinat states his disapproval of the construction of new hotels and
accommodations. Slinat references the alternative of using traditional housing in
villages as tourist accommodation allows tourism to continue while preventing
construction of new hotels, preventing further damage to the environment, and
preserving the surrounding culture. Furthermore, this idea allows tourists to
experience a more authentic experience, which can be used to increase potential
interest for the country. By criticizing the tourism industry, it inspires discussion of
an alternative form of tourism that focuses on sustainability of culture and
environment. Which may be why locations, such as Jaringan Ekowisata Desa
mentioned by Byczek (2011, pp. 89 - 91) , are so appealing to tour agencies since
they are able to use existing accommodations that have a strong sense of Balinese
culture and market the beauty of its surrounding forests. This sense of protection or
promotion of the environment shows in Slinat’s work, such as in ATTUNEMENT
GARDEN where a Balinese woman in a gas mask is surrounded by all types of
colorful native plants. It may represent the ignorance of the Bali environment by
tourist driven agendas. Thus, it answers the effectiveness of street art in promoting
sustainable tourism as it poses a strong message to tourists to seek an authentic
eco-tourist. It also addresses the second research question on how Balinese street
art affects tourists' decision to become more sustainable, as it poses how much true
damage can be done when tourists make a simple trip to Bali.
Moving forward, there is a need for continued dialogue and collaboration
between artists, policymakers, and stakeholders to harness the transformative
potential of street art in promoting a more sustainable and culturally conscious
tourism industry in Bali.
 CHAPTER 4
CONCLUSION
4.1 Analytical Summary
The tourism industry has the ability to restructure whole countries to drive
more revenue. This restructuring has the ability to fundamentally change a
country’s culture and environment. In excess, these changes lead to an overhaul of
culture and destruction of the environment. This also damages the tourism industry
as many travelers nowadays are actively culturally and environmentally conscious.
With Balinese street art scene growing, local artists are now showing their concern
over tourism’s negative effects on the island. Street art is an invaluable tool for
environmental advocacy. Its ability to reach a wide, yet local, audience and its
rebellious nature leads advocates to get their message across to a wider audience
than if it was displayed in a more traditional manner. The Balinese street artist
Slinat has caused much discussion over his many works of Balinese women
wearing gas masks. He aims to show the other side of tourism that erases culture
and ruins the environment. Slinat wishes for the preservation of Balinese culture
and the appreciation of that culture. Through the discussion of how tourism has
been proven to damage its surrounding, it brings into question how tourism can
coincide with a country. For tourists, it makes them think of how they may affect
Bali with their visit, and if they are respecting their surroundings properly.
Artworks like these also encourage local and international people to further invest
in ecotourism as a growing form of tourism that captures a sustainable synergy
between the location and tourist.
4.2 Recommendation
The exploration of cultural art forms, including traditional, contemporary,
and street art, contributes significantly to enriching the cultural landscape and
promoting the Balinese culture whilst giving dialogue for contemporary society.
Artists and cultural practitioners have an impactful role in attracting visitors from
diverse backgrounds and fostering a mutual understanding and appreciation,
promoting cultural sustainability in an increasingly interconnected world.
Therefore, by valuing and supporting artistic diversity, communities and
policymakers can harness the transformative power of cultural art to foster even
inclusive societies, be able to stimulate economic development, and nurture a
thriving ecosystem for future generations.
For future writing references, it would be ideal to interview more artists to
provide a broader perspective on the intricate schemes of the role street art plays in
helping tourism. The inclusion of multiple perspectives will enrich the
understanding of the multifaceted role street art plays in shaping tourism dynamics.
By engaging with a diverse array of artists, researchers can gain deeper insights
into the intricate nuances and varied motivations driving street art practices in the
context of tourism.
Interviewing more artists offers the opportunity to capture a broader
spectrum of experiences, viewpoints, and artistic styles prevalent within the
Balinese street art scene. Each artist brings a unique set of influences, inspirations,
and concerns to the table, contributing to a more comprehensive exploration of the
intersection between art, tourism, and sustainability.
Furthermore, incorporating a wider range of voices enhances the validity and
richness of the research findings. It allows for a more nuanced analysis of the
challenges, opportunities, and tensions inherent in leveraging street art as a vehicle
for promoting cultural heritage, environmental stewardship, and community
engagement within tourism settings.
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 Appendix A
Interview
RPReplay_Final1706510608.mp4
Unfortunately, the recording of the online interview did not capture the
audio. Although most of the key points of the interview were noted down in this
paper, the results are biased and inaccurate due to it not being exactly what Slinat
stated in his own words. Attached above is the full video of the interview with
Slinat as proof this interview was conducted in earnesty.