{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/41046"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/41046","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"Art, Anti-Blackness and the language of protest","abstract":"This thesis interrogates theoretical and ideological frameworks that structure what we've come to know as protest art. With a specific focus on radical Black protest, it became important to interrogate how the language of protest within the humanities continually falls short of articulating creative interventions that emanate from Black social movements. As such, scholarly frameworks that attempt at interrogating protest interventions do so using pedagogical and ideologies that attempt at including, as forms of representation, art forms that tend to do the work of recognition and acknowledging Black struggles within the current White power structure. This thesis takes on a completely different positionality. Analysing post 1994 Black protests in South Africa, I argue that violent responses to creative Black protest interventions are not the work of misrecognition nor in need of representation within the current framework. Rather, they are a realization of the radical demand for a completely different frame of reference.","abstract_html":"This thesis interrogates theoretical and ideological frameworks that structure what we've come to know as protest art. With a specific focus on radical Black protest, it became important to interrogate how the language of protest within the humanities continually falls short of articulating creative interventions that emanate from Black social movements. As such, scholarly frameworks that attempt at interrogating protest interventions do so using pedagogical and ideologies that attempt at including, as forms of representation, art forms that tend to do the work of recognition and acknowledging Black struggles within the current White power structure. This thesis takes on a completely different positionality. Analysing post 1994 Black protests in South Africa, I argue that violent responses to creative Black protest interventions are not the work of misrecognition nor in need of representation within the current framework. Rather, they are a realization of the radical demand for a completely different frame of reference.","abstract_has_math":false,"creators":["Kilani, Lonwabo"],"institution":"Michaelis School of Fine Art","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Makhubu, Nomusa"],"committee_chairs":[],"committee_members":[],"year":2024,"date_issued":"2024","date_published":"2024","updated_at":"2026-07-22T22:23:19Z","subjects":["Fine Art"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/41046","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Makhubu, Nomusa"]},{"key":"dc:creator","label":"Author","values":["Kilani, Lonwabo"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2025-02-28T08:06:21Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2025-02-28T08:06:21Z"]},{"key":"dc:date.issued","label":"Date","values":["2024"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Michaelis School of Fine Art"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Cape Town"]},{"key":"dc:type","label":"Dc Type","values":["Thesis / Dissertation"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Fine Art"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/41046"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis interrogates theoretical and ideological frameworks that structure what we've come to know as protest art. With a specific focus on radical Black protest, it became important to interrogate how the language of protest within the humanities continually falls short of articulating creative interventions that emanate from Black social movements. As such, scholarly frameworks that attempt at interrogating protest interventions do so using pedagogical and ideologies that attempt at including, as forms of representation, art forms that tend to do the work of recognition and acknowledging Black struggles within the current White power structure. This thesis takes on a completely different positionality. Analysing post 1994 Black protests in South Africa, I argue that violent responses to creative Black protest interventions are not the work of misrecognition nor in need of representation within the current framework. Rather, they are a realization of the radical demand for a completely different frame of reference."]},{"key":"dc:title","label":"Title","values":["Art, Anti-Blackness and the language of protest"]}]}],"canonical_facts":{"dc:contributor.advisor":["Makhubu, Nomusa"],"dc:creator":["Kilani, Lonwabo"],"dc:date.accessioned":["2025-02-28T08:06:21Z"],"dc:date.available":["2025-02-28T08:06:21Z"],"dc:date.issued":["2024"],"dc:description.abstract":["This thesis interrogates theoretical and ideological frameworks that structure what we've come to know as protest art. With a specific focus on radical Black protest, it became important to interrogate how the language of protest within the humanities continually falls short of articulating creative interventions that emanate from Black social movements. As such, scholarly frameworks that attempt at interrogating protest interventions do so using pedagogical and ideologies that attempt at including, as forms of representation, art forms that tend to do the work of recognition and acknowledging Black struggles within the current White power structure. This thesis takes on a completely different positionality. Analysing post 1994 Black protests in South Africa, I argue that violent responses to creative Black protest interventions are not the work of misrecognition nor in need of representation within the current framework. Rather, they are a realization of the radical demand for a completely different frame of reference."],"dc:identifier.uri":["http://hdl.handle.net/11427/41046"],"dc:publisher.department":["Michaelis School of Fine Art"],"dc:publisher.institution":["University of Cape Town"],"dc:subject":["Fine Art"],"dc:title":["Art, Anti-Blackness and the language of protest"],"dc:type":["Thesis / Dissertation"],"dc:type.qualificationlevel":["Masters"]},"updated_at":"2026-07-22T22:23:19Z"}