Journal articles on the topic 'Protest movements in art'
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1
Patsiaouras, Georgios, Anastasia Veneti, and William Green. "Marketing, art and voices of dissent." Marketing Theory 18, no. 1 (August 14, 2017): 75–100. http://dx.doi.org/10.1177/1470593117724609.
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Limited research exists around the interrelationships between protest camps and marketing practices. In this article, we focus on the 2014 Hong Kong protest camps as a context where artistic work was innovatively developed and imaginatively promoted to draw global attention. Collecting and analysing empirical data from the Umbrella Movement, our findings explore the interrelationships between arts marketing technologies and the creativity and artistic expression of the protest camps so as to inform, update and rethink arts marketing theory itself. We discuss how protesters used public space to employ inventive methods of audience engagement, participation and co-creation of artwork, together with media art projects which aimed not only to promote their collective aims but also to educate and inform citizens. While some studies have already examined the function of arts marketing beyond traditional and established artistic institutions, our findings offer novel insights into the promotional techniques of protest art within the occupied space of a social movement. Finally, we suggest avenues for future research around the artwork of social movements that could highlight creative and political aspects of (arts) marketing theory.
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Monk, David, Bruno de Oliviera Jayme, and Emilie Salvi. "The heART of Activism: Stories of Community Engagement." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): 61–78. http://dx.doi.org/10.15402/esj.v5i2.68335.
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This paper invites the reader to consider the power and potential of art for public engagement, and its use in social movement learning and in demanding the world we want now. The authors frame social movements as important sites of scholarship and learning. They emphasize that by applying creative strategies to engage in critical thought about the nature of the world and one’s position in it, artforms have the potential to make essential contributions to social change. Inspired by literature related to critical art-based learning and learning in social movements, the authors explore representations of protest art and public art exhibitions. They contextualize their writing with stories of mobile art exhibits in Sao Paulo, the ‘maple spring’ in Montreal (Tiotia:ke in the language of the Kanien’kehá:ka), and anti–Bill C-51 protests in Lekwungen territory (Victoria, British Columbia). They present and reflect on their own experiences of using art as engagement and as a representation of voice in public demonstrations.
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Khan, Ajmal. "Anti-Nuclear Movement in India: Protests in Kudankulam and Jaitapur." South Asia Research 42, no. 1 (November 20, 2021): 7–20. http://dx.doi.org/10.1177/02627280211054795.
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This article discusses two prominent protest movements in India responding to nuclear energy expansion, protests related to the Kudankulam Nuclear Power Project in Tamil Nadu and the Jaitapur Nuclear Power Project in Maharashtra. Partly based on ethnographic fieldwork at both sites, the article argues that these protest movements are substantially different from anti-nuclear mobilisations outside South Asia. Indian nuclear-related protest movements problematise the tensions of development and environment from a grassroots perspective but struggle with opposing claims that more energy is needed. Locally, project-affected people do not trust government agencies to protect them and the local environment against creeping pollutions and potential disasters. Above all, local grievances are directed against high-handed procedures of compensating project-affected persons. Seen from this angle, these protest movements are in effect contributing to the arduous process of democratisation of governance regarding the constantly changing modalities of expanding energy provisions in India.
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Batur, Ayse Lucie. "An Example of a Diachronic Imagination from the Gezi Uprising." Protest, Vol. 4, no. 2 (2019): 68–75. http://dx.doi.org/10.47659/m7.068.art.
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Gezi Uprising was a wave of popular protests and horizontal mobilizations that emerged at the urban center of Istanbul against the destruction of a public park at the end of May 2013 and then quickly spread across the country. Gezi Uprising was marked by a revolutionary visual strategy of commoning images and repurposing them and this helped connect many protesting neighborhoods and locations, and their specific grievances. Along this synchronic imagination of the protest, the circulation of images also fostered a diachronic imagination that connected past struggles and experiences with the current ones, creating a sense of temporal connections of experiences of this newly imagined community. The photocollages of graphic designer and artist Füsun Turcan Elmasoğlu illustrates the mode through which the heightened diachronic imagination was fostered by the collective creativity during the uprising. Elmasoğlu created collages by bringing images that belong to the same place but 38 years apart; images from the large Labor Day demonstration at Taksim Square in 1977, “the Bloody May 1” together with current images of the square. Keywords: Gezi Park, protest, radical imagination, social movements, visual culture
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Williams, Rhys H., and James M. Jasper. "The Art of Moral Protest: Culture, Biography, and Creativity in Social Movements." Social Forces 77, no. 4 (June 1999): 1673. http://dx.doi.org/10.2307/3005916.
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Oberschall, Anthony, and James M. Jasper. "The Art of Moral Protest: Culture, Biography and Creativity in Social Movements." Contemporary Sociology 28, no. 1 (January 1999): 92. http://dx.doi.org/10.2307/2653898.
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Veneti, Anastasia. "Aesthetics of protest: an examination of the photojournalistic approach to protest imagery." Visual Communication 16, no. 3 (June 26, 2017): 279–98. http://dx.doi.org/10.1177/1470357217701591.
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Images of protests and demonstrations are crucial to both social movements and protesters who wish to communicate their identity and their messages to wider audiences. However, the photographing of such political events by press photographers is a complex process. The current analysis focuses on questions of aesthetics surrounding issues of visuality regarding protests and demonstrations. Based on empirical data from 17 semi-structured in-depth interviews with Greek photojournalists, this article examines what is photographed during a protest and how this is affected by the photojournalists’ aesthetic criteria. Drawing on scholarly work on photojournalism (Ritchin and Åker) and photography (Sontag), the author discusses how, in addition to the presumption of the principle of recording reality, photojournalists’ practice is also infused with subjective language and influenced by art photographers’ techniques. Therefore, the main argument of this article is that the employment of hybridized photography practices by photojournalists can have an impact upon their visual decisions with regard to what and how is photographed during a protest. The product of such practices is usually high quality, captivating images with apparent affective qualities.
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Doğu, Burak. "Political Use of Twitter in Post-Gezi Environmental Protests." Middle East Journal of Culture and Communication 12, no. 2 (September 13, 2019): 185–204. http://dx.doi.org/10.1163/18739865-01202007.
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Abstract Twitter has often been associated with recent social movements, particularly in the Middle East region. It was also used widely in Turkey during and after the nationwide Gezi protests of 2013. In this article, I study the political engagement practices on Twitter with a particular focus on the post-Gezi environmental protests, and reflect on how emergent protest ecologies are shaped through the participation of the diverse stakeholders. Based on an analysis of three environmental protests in Yirca, Iztuzu and Cerattepe, I highlight the role of Twitter as a political platform connecting players across protests. Findings indicate that Twitter plays a significant role in expanding protest networks and enabling the congregation of a wide variety of players, such as environmental movement organizations, media, political figures and activists who then help to sustain their resistance movements.
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Kreicberga, Zane. "POLITICAL ACTIVISM AS A FORM OF THEATRE." Culture Crossroads 8 (November 13, 2022): 146–52. http://dx.doi.org/10.55877/cc.vol8.172.
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Nowadays political activism can be considered as a form of theatre: its strategies and tactics often employ the means proposed by Brecht and other thinkers of the political theatre. However, there is a paradox if artistic activism is being practised exclusively in the artistic context, it can find itself in a deadlock. The article is dedicated to the phenomenon of artistic activism, exploring such examples as protest movements born in the UK “Reclaim the Streets” and “Clandestine Insurgent Rebel Clown Army”, “Nano-rallies” in Barnaul, Russia, the act of “The Standing Man” in Turkey, and the activities in media space by the American activist collective “The Yes Men”. The artists create the language and aesthetics of protest merging the borders of life, art and protest.
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Choi, Susanne YP. "When protests and daily life converge: The spaces and people of Hong Kong’s anti-extradition movement." Critique of Anthropology 40, no. 2 (March 4, 2020): 277–82. http://dx.doi.org/10.1177/0308275x20908322.
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Social scientists are prone to define social movements as something extraordinary, existing outside the mundane world of daily routines and lives. However, as the anti-extradition movement in Hong Kong has illustrated, protest and daily routines often overlap. This is due in part to the decentralisation of protest events geographically and the mobilisation of conventional life spaces and cultural repertoires as protest tactics. When protests become daily events and daily events become protests, ordinary people can no longer maintain ‘neutrality’ by claiming that they are just ‘distant spectators’. They are turned into witnesses of history, forced to make a moral judgment and take a stand. The situation also creates new roles for those not directly involved in the movement to participate in the movement. At the same time, this ‘invasion’ of the ordinary and the local by the harbingers of political conflict, has bred fear and white terror among neighbours in local communities.
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Kiklewicz, Aleksander, Julia Mazurkiewicz-Sułkowska, and Helena Pociechina. "Art in protest discourses – on the example of the Belarusian anti-government protest movement." Przegląd Wschodnioeuropejski 14, no. 2 (December 24, 2023): 303–21. http://dx.doi.org/10.31648/pw.9718.
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In protest discourses the problem of using aesthetic and artistic elements lies in the centre of attention. The authors draw empirical material from the Belarusian protest movement, especially the anti-government protests of 2020. In the current study the problem of the use of aesthetic elements in protest discourses is considered in two aspects: 1) in the aspect of artistic activism, i.e. the involvement of artists in resistance activities; 2) in terms of the use of aesthetic speech acts in various forms of protest activity, i.e. as a special rhetorical tool with emphatic and persuasive function, but also as a means of expression with the satisfying function. As a result of this dichotomy, the article is divided into two parts. The authors point out that even though public art is not developed in Belarus (e.g. in the field of visual arts), aesthetic creativity is a very characteristic feature of both street poster discourses and forms of protest in the Internet.
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Cassegård, Carl. "Lovable Anarchism: Campus Protest in Japan From the 1990s to Today." Culture Unbound 6, no. 2 (April 17, 2014): 361–82. http://dx.doi.org/10.3384/cu.2000.1525.146361.
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This is a paper on the transformation of campus activism in Japan since the 1990’s. Japan’s so-called freeter movements (movements of young men and women lacking regular employment) are often said to have emerged as young people shifted their base of activism from campuses to the “street”. However, campuses have continued to play a role in activism. Although the radical student organisations of the New Left have waned, new movements are forming among students and precarious university employees in response to neoliberalization trends in society and the precarization of their conditions. This transformation has gone hand in hand with a shift of action repertoire towards forms of direct action such as squatting, sitins, hunger strikes, and opening “cafés”. In this paper I focus on the development of campus protest in Kyoto from the mid-1990s until today to shed light on the following questions: How have campus-based activists responded to the neoliberalization of Japanese universities? What motivates them to use art or art-like forms of direct action and how are these activities related to space? I investigate the notions of space towards which activists have been oriented since the 1990’s, focusing on three notions: official public space, counter-space and no-man’s-land. These conceptions of space, I argue, are needed to account for the various forms campus protest has taken since the 1990s.
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Nkuna, Jabulani, Kameshwaran Envernathan Govender, and Anusharani Sewchurran. "Comparative digital protest cultures in South Africa and Tamil Nadu: #feesmustfall, #Jallikattu, and Abahlali baseMjondolo (AbM) - a case of surveillance and diasporic potential." Acta Academica: Critical views on society, culture and politics 55, no. 2 (December 6, 2023): 131–53. http://dx.doi.org/10.38140/aa.v55i2.7780.
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This paper explores three protest movements differing in scale and scope in two regions in the world. #feesmustfall (2015-2016) was a social media movement in South Africa to protest against prohibitive hikes in university fees. #Jallikattu (2017) was a social media movement in Tamil Nadu (India) to lift a ban imposed by the Supreme Court of India against an ancient cultural sport with bulls. Abahlali baseMjondolo (AbM) is a South African social media movement to raise issues related to shack dwellers. While there is literature focusing on these movements individually (Bosch 2016, Kalaiyarasan 2017, Mdlalose 2014), a comparative approach offers some alternate insights into how state power manifests in the age of digital capitalism. Habermas (1987, 1989) theorised the transformation of the public sphere and key to understanding how these publics contest existing power structures is his explication of authentic communicative action. Using Fuchs’s (2016) and Zuboff’s (2019) analyses of social media activism, we examine police brutality and surveillance in these three movements. The classical model of diaspora (Harutyunyan 2012) is introduced to show how it manifests in two of the protest movements, and contemporary notions of diaspora (Grossman 2019: 1265) are explored to see what they could offer to diverse protest cultures.
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Gammaitoni, Milena. "A Sociological Analysis of the Social Role of Female Artists during COVID-19." Intercultural Relations 7, no. 2(12) (December 21, 2022): 123–35. http://dx.doi.org/10.12797/rm.02.2022.12.09.
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During the pandemic, artists have created new works, initiated political actions and civil activism, supporting the health prevention policy with the “I stay at home” campaign, but also organizing, at a later stage, protest movements, in defence of the right to perform one’s work, broadening the criticisms to a macro vision: in defence of the environment and the weakest groups, against violence against women, increased by 30%, for aid to immigrants, in denouncing urban marginality (street art), and the depopulation of small towns. The lack of attention on the part of politics, in Italy, and in other European countries, has then generated real opposition movements, an exemplary case being the song “Danser encore,” whose lyrics expressed a protest against government-imposed restrictions, and which turned into flash mob events in many countries. The depoliticization of contemporary art, of which Yves Michaud wrote, is a past concept, because we can see artistic movements shifting towards the safeguarding of universal rights and duties, up to the latest interpretations of what justice is and how to overcome social inequalities according to the visions of Amartya Sen and Martha Nussbaum.
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McDonnell, Terence E., and Katherine Everhart. "CULTURAL FORM AND PROTEST: ACT UP NEW YORK’S TACTICS OF IRONY AND CAMP." Mobilization: An International Quarterly 29, no. 1 (March 1, 2024): 59–80. http://dx.doi.org/10.17813/1086-671x-29-1-59.
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The strategic use of irony and camp in protest movements presents a complex interplay between cultural expression and social action. We examine the deployment of these cultural forms in AIDS activism, proposing a social theory of irony and camp in protest. Through an analysis of 188 interviews from the ACT UP Oral History project, we identify three primary effects of irony and camp: diffusion of tension and critique engagement, solidarity building and recruitment facilitation, and invitation across symbolic boundaries to undermine legitimacy. These outcomes stem from the unique cultural forms of irony and camp, which accentuate the incongruities in protest situations and draw attention to symbolic boundaries between discursive communities. Our findings challenge the predominant focus on frame analysis in the cultural analysis of protests, advocating for a deeper examination of how ideas are communicated within social movements.
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Adams, Jacqueline. "When Art Loses its Sting: The Evolution of Protest Art in Authoritarian Contexts." Sociological Perspectives 48, no. 4 (December 2005): 531–58. http://dx.doi.org/10.1525/sop.2005.48.4.531.
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Change in art is an understudied topic in sociological research. This article examines protest artworks ( arpilleras) produced by shantytown women during and shortly after the dictatorship in Chile, to explore the question why political art that is for sale changes over time. This research is based on 136 semi-structured and in-depth interviews with various members of the art world in Chile, Europe, and the United States, a year's worth of participant observation of art groups in Santiago and over five hundred photographs of arpilleras, taken by the author and analyzed thematically. Political art that is for sale can change because the intermediary (the organization connecting producers and buyers) becomes less or more politically conservative, develops a precarious financial situation, grows more afraid of repression, and has the power to enforce the changes it desires; because the original buyers are replaced with new buyers with different motivations; and because new artists with new ideas begin making the art, one artist in the group produces something different and the idea spreads, artists censor themselves, and artists have new experiences or learn about new events. Through these sources of change, international social movements, local and international political and economic developments, and global institutions impact the art. Meanings attached to the art by the different parties (intermediaries, buyers, and artists) and class differences between artists and intermediaries are also important in facilitating change. These findings, based as they are on political art made in a repressive context, not only contribute to our understanding of artistic evolution but they help correct the bias in the sociology of art toward “art” made in democratic countries of the “First World.” They are not just applicable to authoritarian regimes but also to art by politicized minority groups in democratic contexts, and to other cultural products such as newspapers, magazines, documentaries, and books.
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Walgrave, Stefaan, and Rens Vliegenthart. "The Complex Agenda-Setting Power of Protest: Demonstrations, Media, Parliament, Government, and Legislation in Belgium, 1993-2000." Mobilization: An International Quarterly 17, no. 2 (June 1, 2012): 129–56. http://dx.doi.org/10.17813/maiq.17.2.pw053m281356572h.
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We conducted pooled time-series analyses to assess how number and size of demonstrations affect the political agenda in Belgium (1993-2000). Taking twenty-five issues into account, this study finds that protest matters for the political agenda setting. This study also advances scholarly understanding of the agenda-setting power of protest by showing that the causal mechanisms of protest impact are complex and contingent. The parliamentary, governmental, and legislative attention for issues is significantly and differently affected by preceding protest activities. The media act as an intermediary variable: media coverage emerges in response to protest and, in turn, affects the political agenda afterwards. Protests on some issues have more effect than on others: in Belgium, new social movements protests are especially effective in causing parliament and government to focus attention on the issue.
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Luthfa, Samina. "Artworks as Protest after Rana Plaza Collapse: Frames, Emotions, and Injustices in the Workers’ Rights Movement in Bangladesh." Journal of the Asiatic Society of Bangladesh, Humanities 68, no. 2 (December 17, 2023): 153–74. http://dx.doi.org/10.3329/jasbh.v68i2.70360.
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This article details the framing of emotions and workplace injustices through creative avenues and the politics of communication by activist artists from all over the world that worked in the aftermath of the Rana Plaza collapse in 2013 at Savar near Dhaka in Bangladesh. Analyzing poems, photographs, and dramatic performances, used during the protests against Rana Plaza owners, factory owners and the government, I argue that such creative works not only frame the injustices against workers but also the reflexive, affective and moral emotions to motivate audiences in resisting such injustices. After the collapse of Rana Plaza, activists framed their protests trying to express their own anguish and incite different kinds of emotions among their audience that will in turn make them active in protest. Although it is impossible to measure the impact of these creative works of art as protest, these art works are from local and international artists and were presented to transnational audiences, which sheds light on the diffusion of the protest around the world. Journal of the Asiatic Society of Bangladesh (Hum.), Vol. 68(2), 2023, pp. 153-174
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Orkibi, Eithan. "Resisting the cultural division of protest: The Israeli demobilized reservists’ protest after the Yom Kippur War (1973–1974)." Cultural Dynamics 29, no. 1-2 (February 2017): 23–38. http://dx.doi.org/10.1177/0921374017709231.
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The Israeli demobilized reservists’ protest after the Yom Kippur War is historically renowned for accelerating the emergence of civil criticism with regard to military and strategic affairs and for enabling the formation of peace movements in Israel. This article argues that this movement’s largest contribution was its ability to restructure the rigid cultural division of protest. In the political culture of the early 1970s in Israel, any form of street protest was associated with marginal groups engaging in a disruptive revolt against the established order. The demobilized reservists’ protest recruited members of mainstream social categories for a series of large-scale peaceful demonstrations, which concluded with the resignation of the Israeli government. This precedent blurred the traditional association of street protest with counter-hegemonic movements, and liberated the Israeli repertoire of contention for new social actors and issues. Analyzing the dialectic relations between the cultural division of protest and tactical selection in the demobilized reservists’ protest, this article shows that when members of the mainstream society employ tactics affiliated with marginal or radical groups, they legitimize these tactics as standard forms of political participation and expand their society’s modular repertoire of contention.
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Bala, Anju. "Artistic Response to the Farmers’ Protest 2020-21." Sikh Research Journal 7, no. 1 (August 15, 2022): 37–52. http://dx.doi.org/10.62307/srj.v7i1.42.
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Artists are an inseparable part of society. They tend to express emotions through different genres of art, such as painting, sculpture, art installation, cartooning and digital art to name a few. I witnessed this kind of artistic expression during the recently concluded farmers' protest in India. Artists played an important role in documenting and narrating the movement as it unfolded from the very first day of the movement until the farmers returned back to their homes in November-December of 2021. The artists were not just from India but from various places around the world. Through their art, the artists showed their support for the farmers. This essay aims to bring to the reader some of those ways in which the artists supported the farmers.
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Postill, John. "Freedom technologists and the new protest movements." Convergence: The International Journal of Research into New Media Technologies 20, no. 4 (July 15, 2014): 402–18. http://dx.doi.org/10.1177/1354856514541350.
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Rogers, Turner. "The Schoolbook Protest Movement: A Warning for Art Educators." Art Education 41, no. 5 (September 1988): 6. http://dx.doi.org/10.2307/3193072.
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Smith, Matthew Ryan. "Strange Brew: Art, Protest, and the Anti-Fracking Movement." Afterimage 46, no. 1 (March 1, 2019): 3–16. http://dx.doi.org/10.1525/aft.2019.461002.
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This article examines how contemporary artists respond to the technique of hydraulic fracturing, more commonly known as “fracking.” Drawing on examples of political protest and social activism, with special focus on the ways that artistic interventions challenge energy corporations in galleries and museums, Smith analyzes how artists fuse concerns over the environment with critical aesthetics. By doing so, they explore the problematic relationships between fracking and climate change, waste, environmental degradation, pollution, and public health. In the wake of new data, research, and dissent, it is argued that contemporary art visualizes protest and continues to play a role in picturing the potentially harmful effects of fracking. Accordingly, Smith proposes that artists formulate innovative ways to confront an authoritative fuel industry and translate key issues into new modes of understanding.
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Constantine, Simon. "From the Museum to the Street: Garry Winogrand’s Public Relations and the Actuality of Protest." Arts 8, no. 2 (May 3, 2019): 59. http://dx.doi.org/10.3390/arts8020059.
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Focusing on Garry Winogrand’s Public Relations (1977), this article explores the problematic encounter between street photography and protest during the Vietnam War era. In doing so, it considers the extent to which Winogrand’s engagement with protest altered the formalist discourse that had surrounded his practice and the ‘genre’ of street photography more broadly since the 1950s. It is suggested that, although Winogrand never abandoned his debt to this framework, the logic of protest also intensified its internal contradictions, prompting a new attitude towards the crowd, art institution, street and mass media. By exploring this shift, this article seeks to demonstrate that, while the various leftist critiques of Winogrand’s practice remain valid, Public Relations had certain affinities with the progressive artistic and political movements of the period.
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Ira Chernus. "The Art of Moral Protest: Culture, Biography, and Creativity in Social Movements (review)." Rhetoric & Public Affairs 2, no. 2 (1999): 347–50. http://dx.doi.org/10.1353/rap.2010.0048.
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Snyder, Stephen. "Transvaluation and Aesthetic Displacement: Gezi Park and the Power of Art." Protest, Vol. 4, no. 2 (2019): 26–30. http://dx.doi.org/10.47659/m7.026.art.
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The wave of demonstrations that developed out of the Gezi Park sit-ins manifested a form of aesthetic creativity that employed transvaluation and displacement in a way that set them apart from other protests in Turkey and the Arab world. Transvaluation and displacement were arguably among the primary forces that drove the protests following the forceful breakup of the Gezi Park sit-ins. The protests began when police forcefully removed sleeping demonstrators from Gezi Park. To most observers, the police use of violence to clear the park was deemed disproportionate, and the resistance countered the tear gas, truncheons, water cannons, and detentions with a level of aesthetic intensity that surprised detractors as well as supporters. The primary aim of the movement was to protect a park in the center of Istanbul, but the resistance represented a broad coalition of those who opposed what they perceived as the autocratic ruling style of then Prime Minister Recep Tayyip Erdoğan. They ranged from anti-capitalist Muslims to students who simply opposed the Prime Minister’s Islamification of the Turkish public sphere. Examining the way in which transvalution and displacement were used as a response to the force employed by riot police at the direction of the Turkish government shows how political art was employed effectively in the Gezi Park protests. Keywords: aesthetics displacement, art and social power, Gezi Park, political, political art, politics and aesthetics, protest
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Manikowska, Ewa. "The Challenge of the Heritage of Protest Movements." Culture Unbound 14, no. 2 (July 7, 2022): 179–201. http://dx.doi.org/10.3384/cu.3982.
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This article analyses the challenge of collecting the heritage of present-day global protest movements, which are shaped and influenced by digital practices. In focus of the analysis are the mass-street demonstrations which took place in cities all over Poland in 2020 and 2021 to denounce the ruling of the Constitutional Tribunal imposing a near-total ban on abortion (the “women’s rebellion”). Considered as the largest social protests since the fall of communism in 1989, they have engendered several spontaneous documenting and collecting initiatives. The aims and outcomes of such projects, launched by Polish museums, NGOs, artistic collectives, etc. will be juxtaposed in this article with similar ventures aimed at collecting and archiving the global social movements of the twenty first century and examined as the first Polish examples of Rapid Response Collecting (RRC). This article, by analysing the recent RRC projects of the 2020/21 protests against the abortion ban in Poland, aims to inscribe them in the current discussions on the preservation of digital heritage. While pointing out definitional issues with digital heritage, my analysis also demonstrates the need to integrate and interrelate digital heritage within the wider framework of cultural heritage, its preservation and institutionalisation.
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Sasson-Levy, Orna, and Tamar Rapoport. "Body, Gender, and Knowledge in Protest Movements." Gender & Society 17, no. 3 (June 2003): 379–403. http://dx.doi.org/10.1177/0891243203017003006.
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Jasper, James M. "Constructing Indignation: Anger Dynamics in Protest Movements." Emotion Review 6, no. 3 (June 17, 2014): 208–13. http://dx.doi.org/10.1177/1754073914522863.
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Solomons, Zoë. "Being human now: The theatre of protest." Journal of Dance & Somatic Practices 14, no. 2 (December 1, 2022): 159–63. http://dx.doi.org/10.1386/jdsp_00087_1.
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In this personal account of a moment participating in a large group protest, the author reflects on how her training and experience as a performer, body-based therapist and parent have sensitized her to ecological destruction and equipped her to play a part in the ‘theatre of protest’: Non-violent direct action (NVDA). The author attributes her confidence while participating in protest to skills gained from embodied practices. This may lead the reader to reflect on the ways in which their own embodiment supports them in eco-somatic or eco-justice contexts and/or a variety of life practices. NVDA could be considered inherently embodied, in that it is the strategy of this form of protest for the bodies and actions of protestors to express the messages they want to communicate. When art is used in NVDA the artist may describe themselves as an ‘artivist’. This account endeavours to convey an embodied experience of NVDA, including emotions that arise as a result of active acceptance of the subject of the protest: climate and ecological breakdown. Specifics of time, place and collaborators are intentionally omitted from the narrative and accompanying photo, so as to evoke rather than document the themes described. This omission in text and image serves to protect the identities of protesters and anonymise the author’s role in protest movements. In addition, the choice to focus on the sensory/embodied quality rather than the specifics or academic qualifiers of the experience invites the reader to connect with the humanity that can be present in NVDA.
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Bronfman, Paulina. "Performing art as a new form of youth participation and engagement in politics: The case of Chileans’ social outburst." Citizenship Teaching & Learning 17, no. 3 (September 1, 2022): 381–97. http://dx.doi.org/10.1386/ctl_00099_1.
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Protest activity has become a central element for political change in Chile. In 2019, during Chileans’ October social outburst, performing arts were in the centre of the street protests. This article explores the inspiration social movements have gained from artistic practices and the role the arts in general have had as a new form of youth participation and engagement in politics in Chile. Also, this article examines the relation between the lack of formal citizenship education in the Chilean curriculum after the return of democracy and the birth of these new forms of political participation and activism within the youth. Additionally, based on the Chilean case, the article argues the need for new conceptualizations of citizenship education beyond the traditional boundaries of education institutions.
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Van Bostelen, Luke. "Analyzing the Civil Rights Movement: The Significance of Nonviolent Protest, International Influences, the Media, and Pre-existing Organizations." Political Science Undergraduate Review 6, no. 1 (April 19, 2021): 53–61. http://dx.doi.org/10.29173/psur185.
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This essay is an analysis of the success of the mid-20th century civil rights movement in the United States. The civil rights movement was a seminal event in American history and resulted in several legislative victories, including the 1964 Civil Rights Act, and the 1965 Voting Rights Act. After a brief overview of segregation and Jim Crow laws in the southern U.S., I will argue that the success of the civil rights movement can be attributed to a combination of factors. One of these factors was the effective strategy of nonviolent protests, in which the American public witnessed the contrasting actions of peaceful protestors and violent local authorities. In addition, political opportunities also played a role in the movement’s success, as during the Cold War the U.S. federal government became increasingly concerned about their international image. Other reasons for the movement’s success include an increased access to television among the American public, and pre-existing black institutions and organizations. The civil rights movement left an important legacy and ensuing social movements have utilized similar framing techniques and strategies.
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Foellmer, Susanne. "Choreography as a Medium of Protest." Dance Research Journal 48, no. 3 (December 2016): 58–69. http://dx.doi.org/10.1017/s0149767716000395.
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This article focuses on the idea of choreography as a possible medium of protest. Dealing with the media theory of Niklas Luhmann in the framework of social communication, and adopting Randy Martin's idea of an interrelation of (danced) movement and politics, the focus lies in the moments of migration of gestures from everyday life into art and then into the realm of politics. By analyzing the example of the IstanbulDuran Adamand the performance of choreographer Ehud Darash in Tel Aviv, I address the key question in which moments and what kind of formats choreography serves as a medium of protest by blurring the boundaries between everyday life, art, and politics.
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King, Brayden G., and Sarah A. Soule. "Social Movements as Extra-Institutional Entrepreneurs: The Effect of Protests on Stock Price Returns." Administrative Science Quarterly 52, no. 3 (September 2007): 413–42. http://dx.doi.org/10.2189/asqu.52.3.413.
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This paper uses social movement theory to examine one way in which secondary stakeholders outside the corporation may influence organizational processes, even if they are excluded from participating in legitimate channels of organizational change. Using data on activist protests of U.S. corporations during 1962–1990, we examine the effect of protests on abnormal stock price returns, an indicator of investors' reactions to a focal event. Empirical analysis demonstrates that protests are more influential when they target issues dealing with critical stakeholder groups, such as labor or consumers, and when generating greater media coverage. Corporate targets are less vulnerable to protest when the media has given substantial coverage to the firm prior to the protest event. Past media attention provides alternative information to investors that may contradict the messages broadcast by protestors.
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Andreescu, Radu-Cristian. "Des images attaquées : la soupe sur les tableaux et le déclin de la contemplation." Studia Universitatis Babeș-Bolyai Philosophia 68, Special Issue (November 23, 2023): 7–33. http://dx.doi.org/10.24193/subbphil.2023.sp.iss.01.
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"In 2022, two cans of tomato soup were thrown over Van Gogh’s Sunflowers at the National Gallery in London by two climate activists. The aim of this paper is not to explain the motives behind the protest in terms of environmental activism, but to address the implications of this phenomenon for the status of artistic images in our time. The protest in question is one of the many symptoms of the fact that images associated with a pure state of gaze have become morally dubious due to a certain moralistic turn in contemporary discourses on art. Consequently, what seems to be lost in today’s movements of moralizing aesthetics, whether in art or in environmental activism, is not only the “aura” of an artwork, but also the idea that the contemplation of beauty in and for itself would provide a foundation for humans’ moral vocation. In a gaseous state of art (Y. Michaud) in which the transient effects of things are more important than their essence, the moralistic tendencies combined with the lack of moral foundations can no longer conceive of the ethical effects of images without explicit moral content, thus calling for a new form of heteronomy in art. Keywords: Kantian aesthetics, ethics, contemplation, natural beauty, autonomy of art, environmental activism. "
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Rúdólfsdóttir, Annadís G., and Ásta Jóhannsdóttir. "Fuck patriarchy! An analysis of digital mainstream media discussion of the #freethenipple activities in Iceland in March 2015." Feminism & Psychology 28, no. 1 (February 2018): 133–51. http://dx.doi.org/10.1177/0959353517715876.
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This article contributes to recent research on young women’s emerging feminist movements or feminist counter-publics in the digital age. The focus is on the #freethenipple protests in Iceland in 2015 organised by young women and the ensuing debates in mainstream digital news media and popular ezines. A feminist, post-structuralist perspective is adopted to analyse the discursive context in which the debates and discussions about the protest are embedded, but we are also informed by recent theories about role of affect in triggering and sustaining political movements. The data corpus consists of 60 texts from the digital public domain published during and after the protests. The young women’s political movement is construed as a revolution centring on reclaiming the body from the oppressive structures of patriarchy which, through shame and pornification, have taken their bodies and their ability to choose, in a post-feminist context, from them. Public representations of the protest are mostly supportive and many older feminists are affectively pulled by the young women’s rhetoric about how patriarchy has blighted their lives. We argue that the young women manage to claim space as agents of change but highlight the importance of the support or affective sustenance they received from older feminists.
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Sharpe, Kenan Behzat. "Poetry, Rock ’n’ Roll, and Cinema in Turkey’s 1960s." Turkish Historical Review 12, no. 2-3 (December 27, 2021): 353–78. http://dx.doi.org/10.1163/18775462-bja10028.
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Abstract Using developments in poetry, music, and cinema as case studies, this article examines the relationship between left-wing politics and cultural production during the long 1960s in Turkey. Intellectual and artistic pursuits flourished alongside trade unionism, student activism, peasant organizing, guerrilla movements. This article explores the convergences between militants and artists, arguing for the centrality of culture in the social movements of the period. It focuses on three revealing debates: between the modernist İkinci Yeni poets and young socialist poets, between left-wing protest rockers and supporters of folk music, and between proponents of radical art film and those of cinematic “social realism”.
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Lejano, Raul, Ernest Chui, Timothy Lam, and Jovial Wong. "Collective action as narrativity and praxis: Theory and application to Hong Kong’s urban protest movements." Public Policy and Administration 33, no. 3 (April 7, 2017): 260–89. http://dx.doi.org/10.1177/0952076717699262.
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Policy scholars need to better describe the diversity of actors and interests that forge collective political action through nonformal social networks. The authors find extant theories of collective action to only partially explain such heterogeneity, which is exemplified by the urban protest movements in Hong Kong. A new concept, that of the narrative-network, appears better able to describe movements chiefly characterized by heterogeneity. Instead of simple commonalities among members, a relevant property is the plurivocity of narratives told by members of the coalition. Analyzing ethnographic interviews of members of the movement, the authors illustrate the utility of narrative-network analysis in explaining the complex and multiple motivations behind participation. Narrativity and the shared act of narration, within an inclusive and democratic community, are part of what sustains the movement. The research further develops the theory of the narrative-network, which helps explain the rise of street protest in Hong Kong as an emergent, alternative form of civic engagement.
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Mann, Leon. "Protest Movements as a Source of Social Change." Australian Psychologist 28, no. 2 (July 1993): 69–73. http://dx.doi.org/10.1080/00050069308258878.
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Staszkop, Urszula. "OCCUPY BIENNALE? SOCIALLY-ENGAGED ART PRACTICE AND ART INSTITUTION." ARTis ON, no. 7 (December 24, 2018): 171–77. http://dx.doi.org/10.37935/aion.v0i7.203.
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The political phenomenon of Occupy Wall Street obtained the global attention in the fall of 2011 with its encampment in the Zuccotti Park (New York). As the movement grew, there also seemed to be an aesthetic component to it revealed in socially-engaged, participatory practices. Those presuppositions provoked the debate focused on the emerging issue of activist art and on the art’s capability to transmit the aims of political protest. Consequently, curators and art institutions attempted to endorse the Occupy movement, while incorporating it into various art events. This text seeks to explore those issues through the analyses of emerging discourse on socially-engaged practices and its existence within art institution on the example of Berlin Biennale 7.
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Martineau, Maureen, and Catherine Graham. "The Théâtre Parminou: Thirty Years of History." Canadian Theatre Review 117 (January 2004): 5–9. http://dx.doi.org/10.3138/ctr.117.001.
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Born in the effervescence of the social and protest movements of the 1970s, the Théâtre Parminou quickly defined its identity around a desire to move beyond the closed world of mainstream institutional theatre. From its foundation in May 1973 by the graduates of the Conservatories of Dramatic Art of Quebec and Montreal, the troupe’s mandate has been to create and tour works, in a popular theatre format, that take up the social problems of its era.
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Kaun, Anne. "‘Our time to act has come’: desynchronization, social media time and protest movements." Media, Culture & Society 39, no. 4 (April 21, 2016): 469–86. http://dx.doi.org/10.1177/0163443716646178.
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Protest movements have successfully adopted media technologies to promote their causes and mobilize large numbers of supporters. Especially social media that are considered as low-cost and time-saving alternatives have played particularly important roles in recent mobilizations. There is, however, a growing concern about the contradictions between long-term organizing for progressive, social change, on one hand, and the media technologies employed, on the other. Hartmut Rosa has argued that the current culture of accelerated capitalism is characterized by a growing desynchronization between political practices (slow politics) and the economic system (fast capitalism). This article traces the increasing social acceleration related to (media) technologies employed by protest activists and asks whether there is an increasing desynchronization with their political practices discernible. Furthermore, the article investigates strategies of resistance to overcome the growing gap between ‘machine time’ and political time. Empirically, the article builds on archival material and in-depth interviews documenting the media practices of the unemployed workers’ movement (1930s), the tenants’ movement (1970s) and the Occupy Wall Street Movement (2011/2012) and argues for the need to re-politicize media infrastructures as means of communication in order to tackle democratic problems that emerge from the divergent temporalities.
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Yuen, Samson, and Kin-long Tong. "Solidarity in diversity: online petitions and collective identity in Hong Kong's Anti-Extradition Bill Movement." Japanese Journal of Political Science 22, no. 4 (December 2021): 215–32. http://dx.doi.org/10.1017/s146810992100030x.
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AbstractCollective identity is a key catalyst of protest mobilization. How does collective identity come into existence among strangers with diverse backgrounds, especially in movements without a centralized leadership? Although collective identity is often seen as something constructed by movement organizations or out of established networks, we describe a more bottom-up and decentralized process in which movement collective identity is created through the horizontal mobilization of intermediate identities, which leverage pre-existing social identifications to induce commitment among individuals. Focusing on Hong Kong's Anti-Extradition Bill Movement of 2019, we argue that online petitions against the controversial bill created intermediate group identities among myriad social groups, such as alumni, professions, hobby groups, and residential communities. These intermediate identities provided rich discursive resources for previously disconnected individuals to collectively perceive the threat of the bill and see the obligation to act, which, in turn, shaped a strong collective identity early on in the protests. Our findings may help contribute to a more nuanced understanding of collective identity formation in contemporary leaderless movements.
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Gooding, Erik D., Max Yamane, and Bret Salter. "‘People have courage!’: Protest Music and Indigenous Movements." Comparative American Studies An International Journal 18, no. 3 (July 3, 2021): 380–96. http://dx.doi.org/10.1080/14775700.2021.2008223.
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Foellmer, Susanne. "Don’t Move! Choreography as a Means of Arranging Protest in Times of Curfew." Forum Modernes Theater 34, no. 1 (July 17, 2023): 18–31. http://dx.doi.org/10.24053/fmth-2023-0003.
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This article investigates protesting when there are restrictions on public assembly. In spring 2020, social movements (partly unwittingly) used choreographic means in order to deal with the prohibition of public gatherings, imposed by the Covid-19 pandemic. Examples in Tel Aviv (Black Flag protest, 19 April) and the campaign Empty Chairs in Germany (24 April) have one prominent characteristic in common: The lack of expansive spatial movement. The article delineates the ways in which these protests aimed to make their voices heard: Choreographic arrangements of physically distanced bodies were assigned on site to produce highly affective images for social media, thus shifting the focus of the protests’ visibility into the online public sphere. In addition, the different situations of vulnerable bodies calling to action are of interest: Given the pandemic times, the concept of protection takes precedence.
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Türeli, Ipek, and Meltem Al. "Walking in the Periphery: Activist Art and Urban Resistance to Neoliberalism in Istanbul." Review of Middle East Studies 52, no. 2 (November 2018): 310–33. http://dx.doi.org/10.1017/rms.2018.96.
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In 2013, the Gezi Park protests created a wave of optimism in Istanbul – until it was brutally suppressed by the government. Although the ephemeral movement ended without having achieved its immediate goals, it continues to have ripple effects on the public culture of Istanbul. The ruling party, for example, has emulated the forms and formats of performance that emerged during the protests in order to mobilize its own support base. In a post-Gezi Istanbul, however, the occupation of public spaces in protest of the government has become nearly impossible, rendering alternative artistic and activist practices all the more important.
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DOMBROVSKIY, PAVEL, and OLEG KHAZANO. "THE J.R.R. TOLKIEN’S MYTH IN THE COUNTERCULTURE OUTLOOKS IN THE WEST SOCIETY OF 1960-1970S YEARS." History and modern perspectives 2, no. 3 (September 30, 2020): 124–33. http://dx.doi.org/10.33693/2658-4654-2020-2-3-124-133.
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The article is devoted to the researching of the J.R.R. Tolkien’s (British writer and linguist) influence on the outlook of counterculture movements in 1960-1970s years. The west countries’ history of that period describes a developing of the youth protest activity and the promoting of the trilogy «The Lords of the Rings», which became the most important embodiment of J.R.R. Tolkien’s mythology. As the result, the creativity of British writer became as the fantastic allusion to the modern and recent historical problems of society, such as the USA campaign in Vietnam, world wars, consumption cult, the harm to the environment, the fight for civil rights, etc. The purpose of that article is to identify the role of J.R.R. Tolkien’s myth in the ideological forming of youth movements of the mentioned time period in the USA and West Europe of 1960-1970s years. Through the prism of that interaction authors reconstruct a layer of counterculture mythology with the merging of Tolkinism’s (the writer’s creativity and outlook) and protest ideas inside the original awareness. The result of this process is in the appearance of the new youth movements’ ideological aspects, reflected in slogans, sings and street art of the pointed time period. The embodiment of the young generation’s protest activity with fictional heroes and events in Tolkien’s Middle-Earth has the main role in such aspects. However, today there is lack of the researching of that problem. Authors of the article suggest to look at the counterculture’s history in west countries through the prism of the pointed synthesis as the one of basically elements in the formation of modern mass culture and subculture layer.
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Moffat, Susan. "The Battle of the Bulb." Boom 6, no. 3 (2016): 68–79. http://dx.doi.org/10.1525/boom.2016.6.3.68.
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Albany Bulb, a former landfill, is a thirty-one-acre battleground for the Bay Area’s competing progressive movements for social justice, environmental conservation, and politically engaged art. Street protest, lawsuits, regulatory jockeying, anarchist camp-ins, and art have all been deployed in the name of saving this oddball spit of land from and for its users of many species. Drawing from information collected over sixteen years of visits to the Bulb, including scores of hours of interviews beginning in 2013, this essay brings together work from an interdisciplinary team of UC Berkeley students and Bulb residents to apply techniques of ethnography, contemporary archaeology, oral history, participatory mapping, mobile apps, botany, architecture, landscape architecture, and urban planning to the study of the Bulb.
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Zhukov, Dmitry, Konstantin Kunavin, and Sergey Lyamin. "Online Rebellion: Self-Organized Criticality of Contemporary Protest Movements." SAGE Open 10, no. 2 (April 2020): 215824402092335. http://dx.doi.org/10.1177/2158244020923354.
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The theory of self-organized criticality (SOC) is applicable for explaining powerful surges of protest activity on social media. The objects of study were two protest clusters. The first was a set of Facebook groups that promoted the impeachment of the Brazilian president Dilma Rousseff. The second was a set of groups on the social network Vkontakte that provided support for anti-government rallies in Armenia, referred to as Electric Yerevan. Numerous groups in the examined clusters were functioning in SOC mode during certain periods. Those clusters were able to generate information avalanches—seemingly spontaneous, powerful surges of creation, transmission, and reproduction of information. The facts are presented that supported the assumptions that SOC effects in social networks are associated with mass actions on the streets, including violence. The observations of SOC make it possible to reveal certain periods when the course of a sociopolitical system is least stable.
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Bahrudin, Huda, and Kesumawati A. Bakar. "Dissent by Design: A Multimodal Study of 2019 Women’s March MY Protest Signs." Theory and Practice in Language Studies 12, no. 6 (June 1, 2022): 1076–86. http://dx.doi.org/10.17507/tpls.1206.07.
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The power of texts and visuals in the repertoire of protests – in both its production and consumption – allows protest movements to not only spread their message faster and mobilise support, but also promote active engagement in the public sphere. The present study examined multimodal discourse of protest by analysing textual and visual resources in protest signs used to express and negotiate feminist ideology at the 2019 Women’s March MY in Kuala Lumpur. Following Kress & van Leeuwen’s Visual Grammar (2006) and van Leeuwen’s Social Actor Network (2008), three themes of the march were selected for multimodal analysis. Findings of the study show that multimodal representations through verbal and visual resources vary in its salience across different themes – where some protest signs lean more towards texts in conveying its messages with minimal visuals, others show a higher reliance on textual and visual convergence to convey meaning as well as to bait the attention of readers. Weighing in on the Malaysian feminist discourse, this study puts forth the potential of multimodal strategies through verbal and visual resources in conveying feminist messages and negotiating social change through the act of protest.