“During the Vietnam War, every respectable artist in this country was against the war. It was like a laser beam. We were all aimed in the same direction. The power of this weapon turns out to be that of a custard pie dropped from a stepladder six feet high.” -Kurt Vonnegut

This morning, 31 January 2020, official date of the UK’s departure from the EU, the agitprop group Led by Donkeys projected on to the white cliffs of Dover a message from the UK to its European neighbours…

The group had been active since the Brexit referendum, erecting billboards across the UK replaying the messages of pro-Brexit and populist politicians. Led by Donkeys scores precisely because it doesn’t employ wit or wordplay, or Banksy‘s admittedly striking  visual epigrams, but simply replicates and reminds us of the messages it thinks we should beware of…

In the UK the recent language of protest, on placards in particular or in graffiti, has tended to employ irony, sarcasm, flippancy, facetiousness, to get its messages across by way of puns and cultural allusions…

Invective, banter and wit are mainstays of the British national conversation, irreverence and unseriousness is a default, obligatory style of private and public discourse…

The signing and symbology featuring in public demonstrations, and the debates taking place in public spaces is social media IRL; the slogans and quips on display are Twitter come to the streets…

The tactics used by Led by Donkeys rather recalls the media manipulations advocated and practised by activists in the 1960s. By way of detournement the Situationists pioneered the hijacking of the multimodal spectacle projected – or inflicted – by capitalism, appropriating and reworking words and images and turning it against its creators…

…and in later anti-capitalist subversions employing the strategies known as culture-jamming, ad-jamming, ad-busting or subvertising…

The street protestors’ placards, for all their wit, wisdom and wrath, have been dismissed by some as self-indulgent, harmless venting and ultimately ineffective. The rightists’ dismissals are perhaps to be expected…

https://blogs.spectator.co.uk/2019/03/dont-be-fooled-by-the-twee-placards-at-the-peoples-vote-march/

https://www.spiked-online.com/2019/03/25/the-reactionaries-are-on-the-march/

But slightly less predictable is disapproval from the Greens…

http://bright-green.org/2017/08/22/ive-had-enough-of-your-witty-placards/

All these protest styles and strategies are part of a rich and complex tradition which I have only touched upon in this short post. I will shortly add some, hopefully more detailed and more profound observations on the subject on this site, together with a visual history which I hope to incorporate in an upcoming broadcast…

Today’s projection by Led by Donkeys differs from their static hoardings in using an original filmed recording of war veterans, and in adding a poignant final message in what looks like a heartfelt personal coda…

It does however appropriate a pro-Brexit trope, as well as an iconic setting, substituting real warriors for Brexiteer nostalgia and for what the left derides as ‘airfix patriotism’ -the false memories and imaginary heroism of those who cannot remember or have never studied the real British past.

In June 2020 the Open University made available its short film on the Language of Protest, accompanied by an essay by Dr Philip Seargeant on the same subject…

Here, with his kind permission, is Philip’s article, updating the topic for an audience still undergoing pandemic restrictions…

The Language of Protest: political demonstration in the age of Covid-19