Thesis (M.A.) -- University of Natal, 1992. / Title from opening menu. Electronic version lacks images. Includes bibliographical references. Also available in print with images.

This thesis is the culmination of my work as a graphic artist thus far. I chose to investigate the use of type and image in the production of social protest art, as it relates to historical and contemporary art as well as my own. Methods used in gathering the data include references from books, periodicals, websites, and hands-on application of the artistic process. Conclusions found within this paper suggest that using type and image within a multimedia process, serves to communicate important messages and attempts to educate the viewer on important political and social matters. Protest art has and will continue to be a viable and important form of art. This thesis is significant in presenting my artwork as it fits into the mosaic of protest art in the past, along with discussion of design elements and graphic processes.

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abstract: ABSTRACT As a response to the banning of Ethnic Studies in the Tucson Unified School district and other oppressing forces within the movement the students fighting HB 2281 created a Sacred Xicana Space. In this thesis I will examine the role that protest art has in the fight against HB2281. I will also analyze its role in cultural expression, identity and representation. The research question guiding this research is What role does protest art have in social justice? Specifically I will analyze the cultural production of protest art against HB 2281, the ethnic studies ban in Tucson Arizona, and its role in cultural expression, identity and representation. / Dissertation/Thesis / M.A. Social Justice and Human Rights 2014

This thesis examines the recent emergence of corporeal protest art in Russia. Through analyses of cultural, social, and economic shifts in the post-Soviet Era, I observe how this corporeal turn reflects a significant cultural transition away from the literary text, which has traditionally held a role of major importance in Russian culture. Detailed analysis of the contemporary performances of Pussy Riot and Petr Pavlensky are conducted in order to elucidate the social and political causes and implications of such a shift. Manifestation of oppositional discourse on the site of the human body is understood theoretically through Giorgio Agamben’s biopolitics, Mikhail Bakhtin’s grotesque body, and Inke Arns’ and Sylvia Sasse’s theory of subversive affirmation. Interestingly, this artistic divergence has coincided with the rise of relative economic and social wellbeing in Russia – conditions that tend to foster the development of a burgeoning public sphere, now standing at odds with an increase in political repression. Oppositionists and protest artists are, therefore, exploring new and unconventional ways of expressing dissent. My study contextualizes these new methods of expression within the larger tradition of the cultural expression of political will, examining the ways in which these works are readable through Russian cultural norms and to whom they speak. / Graduate

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Made available in DSpace on 2016-04-27T19:30:24Z (GMT). No. of bitstreams: 1 Luiza Helena Novaes.pdf: 1862612 bytes, checksum: 11f5934eb0dfb17f93a4e9ef66a54fa8 (MD5) Previous issue date: 2011-10-17 / This paper aims to make a critical historical reading of a selection of artistic performances that took place on the stages of the Teatro da Universidade Católica de São Paulo (TUCA) in different periods. One of the approaches is trying to recover the possible consciousness in the different historical periods as well as in the art made in each of them. We have chosen a somewhat wide time parameter, covering from the 1960s to 2010, mirroring what can be found at the Theater s Archive, which is organized in historical dossiers of the performances held at this university theater of indisputable relevance in São Paulo s history / seleção de apresentações artísticas ocorridas no espaço do Teatro da Universidade Católica de São Paulo (TUCA) em diferentes períodos. Uma das abordagens é tentar percorrer a consciência possível nesses períodos históricos, bem como na arte então produzida. Fizemos um recorte bastante amplo, que abrange desde a década de 1960 até o ano de 2010, espelho do que encontramos no Arquivo do Teatro, organizado em termos de dossiês históricos dos eventos desse espaço universitário de importância incontestável na história de São Paulo

Cette thèse examine la politisation dans un régime autoritaire à travers l’étude de deux mouvements rock contestataires en Biélorussie. Le rock « national » s’est constitué en tant que mouvement artistique dans les années 1980 autour de la production de la musique contemporaine d’inspiration occidentale chantée en langue biélorusse et de la promotion d’une vision hétérodoxe de l’« identité nationale ». Le tournant autoritaire des années 1995-1996 a provoqué la repolitisation contestataire de ce mouvement artistique. Les acteurs du rock « national » continuent de revendiquer le statut « underground » tout en aspirant à la professionnalisation dans le cadre du système de production commercial. C’est aussi au milieu des années 1990 qu’un autre mouvement contestataire se constitue – le rock anarcho-punk DIY imprégné des conventions du modèle Do it yourself internationalisé. Ce mouvement proche des groupements anarchistes prône l’amateurisme, la production artistique restreinte et le radicalisme des prises de position. Sur l’exemple de ces deux mouvements artistiques, la thèse étudie les logiques de politisation et les modes de contestation. / Based on a study of two protest rock movements in Belarus, this thesis examines the phenomenon of politicisation in an authoritarian regime. The “national” rock emerged in the 1980s as a modern artistic movement inspired by Western music conventions. Singing in Belarusian, this scene aspired to promote a heterodox vision of “national identity”. The authoritarian turn in 1995-1996 provoked protest re-politicisation of this artistic movement. “National” rock musicians continued to claim the “underground” status, while aspiring to professionalisation and commercial production. Against the backdrop of the authoritarian change, another protest movement emerged in the mid-1990s. Following the internationalised Do-It-Yourself model, the DIY anarcho-punk is closely linked to anarchist groups and promotes amateurism, limited artistic production and radical political expression. Based on the example of the two artistic movements, this thesis studies the logics of politicisation and the modes of political protest.

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