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This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Nicoll, Maggie L Title: Creative expressions of protest challenging reductive perceptions of the Algerian Hirak through street art, photography and music video published on Instagram and YouTube General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Creative expressions of protest: challenging reductive perceptions of the Algerian Hirak through street art, photography and music video published on Instagram and YouTube Margaret Lily Nicoll A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Master of Philosophy in the Faculty of Arts School of Modern Languages University of Bristol September 2020 WORD COUNT: 24,998 i Acknowledgements I would firstly like to express my deepest gratitude to my supervisors, Professor Siobhán Shilton and Dr Ruth Bush, for their invaluable feedback, advice, and their unending support throughout the course of this project. They are truly wonderful people who inspired me during my undergraduate studies, encouraged and believed in me as I embarked upon postgraduate study, and without whom I would not be where I am today. I am also thankful to Dr Edward King, Dr Justin Williams, and Dr Karim Ouaras for their advice and support of the project. To Dr Camille Jacob for taking an interest in my work and offering writing tips. I am indebted to Dr Souhila Belabbas for her help with proofreading my song transcriptions in Darija and Kabyle, and for inviting me to her home to let me try my hand at making mhajeb (I think I’ll leave it to the experts). I am very grateful to Abderrahmane Merine and Amel Zen for answering my questions about their work, to my Arabic teacher, Enas, and of course to my good friend Mohammed for his help with Darija and endless art exchanges and discussions about street art in Algeria, the UK, and the world. I would not have completed this project without the unwavering support of my friends and family. A considerable portion of the dissertation was completed during the COVID-19 lockdown, and so I must thank my family for welcoming me home earlier than expected and helping me adjust to the ‘new normal’. I thank Roger for fixing my laptop in a time of great need. I am grateful to my lifelong friend Kirsty and to Scarlett, Will, Megan, Andrew and Nashe for their firm friendship and for the virtual board game nights and video calls that kept me grounded throughout the pandemic. To all my friends from Basingstoke who have supported me endlessly. Finally, for their unconditional love and encouragement, I thank my brothers Angus, Cameron and Thai, and my wonderful parents Elaine and John. ii Abstract This study provides an analysis of photography, street art and music relating to the Algerian Hirak protests of 2019-2020. It asks: how do art and music relating to the Hirak challenge reductive perceptions of the movement? What role do Instagram and YouTube play in the influence and dissemination of these works? The research was motivated by the need to examine alternative and nuanced representations of the movement, combined with the growing importance of analysing how social media platforms are changing the ways we view art, listen to music, and relate to one another. It combines Postcolonial theory, specifically Edouard Glissant’s notion of opacité, with Symbolic Interactionism theory applied to the cyberspace, to analyse how artists point to the irreducible diversity and collective nature of the Hirak, and the ways that social media platforms necessarily involve the audience and provide them with additional information beyond the frame. It reveals that artists and musicians challenge reductive perceptions of the movement through diverse aesthetic and audiovisual techniques, and that the specific architecture of the Instagram and YouTube platforms affect how the works are consumed, understood, and discussed by their audiences. It also finds that music videos on YouTube can contribute to stereotypes while simultaneously breaking others down. The study looks first at the photographic series Algérie Vue d’en Bas (2015-) by Ahmed Ait Issad and the street art project La Main du Peuple (2015-) by Merine Hadj Abderrahmane, both of which are exhibited on Instagram. It then moves on to a discussion of music videos on YouTube, starting with Allo le Système ! (2019) by Raja Meziane, then Liberté (2019) by Soolking featuring Ouled el Bahdja, and finally Libérez l’Algérie (2019) by various artists. Keywords: Algerian Hirak, art, music, Instagram, YouTube iii Author’s declaration I declare that the work in this dissertation was carried out in accordance with the requirements of the University's Regulations and Code of Practice for Research Degree Programmes and that it has not been submitted for any other academic award. Except where indicated by specific reference in the text, the work is the candidate's own work. Work done in collaboration with, or with the assistance of, others, is indicated as such. Any views expressed in the dissertation are those of the author. SIGNED: Margaret Nicoll DATE: 24th September 2020 iv TABLE OF CONTENTS Acknowledgements ................................................................................................................................. ii Abstract .................................................................................................................................................. iii Author’s declaration ............................................................................................................................... iv Table of Contents .................................................................................................................................... v List of figures ......................................................................................................................................... vi 1. Introduction ....................................................................................................................................... 1 1.1 Background ................................................................................................................................... 2 1.2 Reductive Perceptions ................................................................................................................... 3 1.3 Literature Review .......................................................................................................................... 5 1.4 Theoretical Framework & Methodology .................................................................................... 10 1.5 Structure of Dissertation ............................................................................................................. 16 2. Chapter one: Photography and Street Art ................................................................................... 18 2.1 Algérie Vue d’en Bas ................................................................................................................... 20 2.2 La Main du Peuple ...................................................................................................................... 31 2.3 Conclusion .................................................................................................................................. 39 3. Chapter two: Music Video ............................................................................................................. 41 3.1 Allo le Système ! .......................................................................................................................... 43 3.2 Liberté ......................................................................................................................................... 51 3.3 Libérez l’Algérie ......................................................................................................................... 59 3.4 Conclusion .................................................................................................................................. 64 4. Conclusion ....................................................................................................................................... 66 References ............................................................................................................................................
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