Art et pouvoir

 méthode, vocabulaire, exemples | Bac

L’axe « Art et pouvoir » explore les liens étroits et complexes entre la création artistique et les formes d’autorité, qu’elles soient politiques, économiques ou sociales. L’art peut servir le pouvoir – en célébrant un régime, en diffusant une propagande ou en renforçant un ordre établi – mais il peut aussi le contester, le critiquer et devenir un instrument de résistance. Dans le monde anglophone, des fresques de Banksy aux chansons de Bob Dylan, des pièces de Shakespeare aux discours d’investiture présidentielle, la culture est un champ de bataille où se jouent la liberté d’expression, la mémoire collective et la transformation sociale. Cet axe invite les élèves à analyser comment les artistes, écrivains, cinéastes et musiciens façonnent et interrogent le pouvoir, et comment le pouvoir, en retour, cherche à contrôler ou à instrumentaliser l’art. Cette page donne la problématique,le vocabulaire indispensable et des exemples pour réussir aussi bien l’expression écrite que l’oral.

🎨 Vocabulaire thématique : Art et pouvoir

Ce vocabulaire est indispensable pour analyser des œuvres d’art, des affiches, des chansons engagées, des romans ou tout document traitant des relations entre l’art, la société et le pouvoir.

Anglais Français
artart
artworkœuvre d’art
paintingpeinture
sculpturesculpture
street artart de rue
graffitigraffiti
muralfresque murale
performancespectacle, performance
exhibitionexposition
gallerygalerie
masterpiecechef-d’œuvre
propagandapropagande
censorshipcensure
freedom of expressionliberté d’expression
political activismactivisme politique
to denouncedénoncer
to raise awarenesssensibiliser
to empowerdonner du pouvoir, autonomiser
to inspireinspirer
to provokeprovoquer
to questionremettre en question
to convey a messagetransmettre un message
symbolsymbole
controversycontroverse
mainstreamdominant, grand public
counterculturecontre-culture
resistancerésistance
protest songchanson contestataire
dystopiadystopie
utopiautopie
social changechangement social

📚 Grammaire – La voix passive pour décrire l’impact de l’art

La voix passive est particulièrement utile pour parler de l’art, car elle permet de mettre l’accent sur l’œuvre ou le message plutôt que sur l’artiste. Elle est aussi employée lorsque l’agent (celui qui réalise l’action) est inconnu, évident ou non pertinent.

Formation : be (conjugué au temps voulu) + participe passé du verbe.

Temps Voix active Voix passive
Present simple They paint murals. Murals are painted.
Past simple Banksy created this piece. This piece was created by Banksy.
Present perfect The government has banned the song. The song has been banned (by the government).
Future (will) They will exhibit the painting. The painting will be exhibited.
Modal You can see the sculpture. The sculpture can be seen.

🎨 Emplois dans le thème

Voici quelques exemples de la voix passive appliquée au thème « Art et pouvoir » :

  • The mural was commissioned by the city council.
    (La fresque a été commandée par le conseil municipal.)
  • His work has been criticised for being too political.
    (Son œuvre a été critiquée parce qu’elle est jugée trop politique.)
  • Graffiti is often considered vandalism.
    (Le graffiti est souvent considéré comme du vandalisme.)

L’art face au pouvoir dans les sociétés anglophones

Dans l’histoire du monde anglophone, l’art et le pouvoir entretiennent une relation ambivalente. D’un côté, les souverains britanniques ont utilisé le portrait officiel pour asseoir leur légitimité. De la Renaissance à l’époque victorienne, la peinture glorifiait la monarchie, les conquêtes militaires et la puissance impériale. Les monuments, comme la statue de l’amiral Nelson à Trafalgar Square, célèbrent les héros nationaux et rappellent la force de l’Empire.

Au XXᵉ siècle, l’art est devenu un outil de contestation. Pendant les deux guerres mondiales, les affiches de recrutement – tel le fameux « Lord Kitchener Wants You » – sont des exemples de propagande d’État. Mais les mêmes périodes ont vu naître des œuvres pacifistes, comme les poèmes de Wilfred Owen, qui dénoncent l’horreur des tranchées. Aux États-Unis, la lutte pour les droits civiques s’est accompagnée d’une explosion artistique : le gospel, le blues, puis la soul et le hip-hop ont porté la voix des opprimés. Des chansons comme « Strange Fruit » de Billie Holiday ou « The Times They Are a-Changin’ » de Bob Dylan sont devenues des hymnes de résistance.

Le street art, et notamment l’œuvre de Banksy, illustre la capacité de l’art à s’emparer de l’espace public pour dénoncer les injustices. Ses pochoirs, réalisés illégalement sur les murs de Londres, de New York ou de Bethléem, critiquent la guerre, le consumérisme, la surveillance ou les inégalités. Le pouvoir réagit de manière paradoxale : tantôt il efface ces œuvres en les qualifiant de vandalisme, tantôt il les protège et les vend aux enchères, montrant comment l’art contestataire peut être absorbé par le marché.

La littérature a également été un terrain de résistance. *1984* de George Orwell, Le Meilleur des mondes d’Aldous Huxley ou La Servante écarlate de Margaret Atwood sont des dystopies qui mettent en garde contre les dérives totalitaires. Ces romans, souvent étudiés dans les écoles, participent à la formation d’une conscience critique.

Aujourd’hui, les réseaux sociaux offrent une plateforme planétaire à l’art engagé. Une caricature, une chanson ou une vidéo peuvent devenir virales et influencer l’opinion publique en quelques heures. Cependant, le pouvoir économique et politique tente aussi de contrôler ces canaux, par la censure ou la manipulation algorithmique.

Ainsi, l’art n’est jamais neutre : il reflète, construit ou conteste le pouvoir, et c’est dans cette tension qu’il trouve sa force.

Le street art, voix des sans-voix ?

Le street art est né aux États-Unis dans les années 1970, avec les tags et les graffitis dans le métro new-yorkais. Mais c’est au Royaume-Uni, avec l’émergence de Banksy dans les années 2000, que le street art a acquis une reconnaissance mondiale.

Banksy, dont l’identité reste mystérieuse, réalise des pochoirs dans l’espace public pour critiquer la société de consommation, les inégalités, la guerre, le racisme ou la crise migratoire. Ses œuvres, souvent satiriques, transforment un mur banal en tribune politique. Par exemple, Girl with Balloon est devenue une image iconique d’espoir et de fragilité. Napalm, qui détourne une photo de la guerre du Vietnam, dénonce l’impérialisme américain.

Le pouvoir réagit de manière contradictoire. Les autorités municipales effacent régulièrement ses œuvres en les qualifiant de dégradations. Pourtant, certaines d’entre elles sont protégées par des vitres et attirent des touristes du monde entier. En 2018, son tableau Girl with Balloon s’est partiellement auto-détruit juste après avoir été vendu aux enchères, créant une nouvelle œuvre intitulée Love is in the Bin. Ce geste spectaculaire interroge la valeur marchande de l’art et la récupération par le pouvoir économique.

D’autres artistes, comme Shepard Fairey aux États-Unis (célèbre pour l’affiche « Hope » de Barack Obama) ou des collectifs féministes, utilisent la rue pour contourner les circuits traditionnels. Le street art démocratise l’art, mais sa légalité et sa pérennité restent fragiles.

Exercices 

grammaire : voix passive

  1. Mettez à la voix passive : The artist painted the portrait in 1945. → The portrait was painted in 1945 (by the artist).

  2. Transformez : They have banned the film in several countries. → The film has been banned in several countries.

  3. Traduisez en utilisant le passif : « Cette fresque a été réalisée par un artiste anonyme. » → This mural was created by an anonymous artist.

 

Corrigé

  1. The portrait was painted in 1945 (by the artist).

  2. The film has been banned in several countries.

  3. This mural was created by an anonymous artist.

Expression écrite

Sujet : You have read the article “When Art Becomes Protest”. Write a short essay (150-180 words) in which you :

  • Explain why art is an effective tool for protest.

  • Discuss whether art should ever be censored by authorities.

  • Give your personal opinion.

Consignes : structurez votre essai (introduction, développement, conclusion). Utilisez au moins trois connecteurs logiques et deux expressions du vocabulaire thématique.

Corrigé

Art has always been a mirror of society, but it can also be a hammer with which to shape it. The article “When Art Becomes Protest” reminds us that creative expression is a powerful tool for challenging authority and inspiring change.

First of all, art is an effective means of protest because it speaks directly to people's emotions. A striking poster or a moving song can convey a complex message in seconds, reaching a wide audience beyond intellectual circles. Moreover, art can bypass censorship: a metaphor in a poem or a symbol in a painting can denounce injustice without using explicit words that authorities might ban. In this sense, art becomes a universal language of resistance.

However, the question of censorship remains controversial. Some argue that art which incites violence or hatred should be restricted to protect public order. Yet, the problem is that those in power often define what is “dangerous” to serve their own interests. Censorship, even with good intentions, can easily become a weapon against freedom of expression. History has shown that regimes that suppress art also suppress dissent.

In my opinion, art should never be censored. A democratic society must tolerate uncomfortable voices. Artists play the role of watchdogs, forcing us to confront harsh truths. Therefore, instead of silencing them, we should encourage critical thinking and debate. To conclude, art is not just decoration; it is the heartbeat of a free society.

Expression orale

Situation : Vous présentez le document iconographique ci-dessus : une photographie du mur de séparation en Cisjordanie, sur lequel Banksy a peint une fillette s’élevant dans les airs en tenant une grappe de ballons. Des soldats sont visibles au loin.

Problématique suggérée : How can street art challenge political power?

Points à aborder :

  • Description (contexte, éléments visuels, contraste entre l’enfant et le mur).

  • Signification : l’art comme échappatoire, critique de l’occupation, espoir.

  • Lien avec l’axe : art et résistance, occupation de l’espace public, portée universelle de l’image.

  • Opinion personnelle : l’art de rue est-il une forme légitime de protestation politique ?

Corrigé

script de la présentation

Introduction

Good morning. The document I’m going to present is a photograph of a very famous piece of street art. It was taken on the separation wall in the West Bank, in Palestine. The mural was painted by the anonymous British artist Banksy. This image is directly connected to the notion “Art and power”. The main question it raises is: how can street art challenge political power? First, I will describe the photograph and the artwork. Then, I will analyse its deeper meaning and message. Finally, I will discuss the effectiveness of street art as a form of protest and give my personal opinion.

Description

Let’s begin with the description. The photo shows a section of the huge concrete separation wall that divides Israel from the Palestinian territories. The wall is grey, tall and imposing. In the centre, we see a mural painted by Banksy. It depicts a little girl, probably around eight or nine years old, who is floating upwards into the sky. She is holding a bunch of colourful balloons in her hand. Her face looks calm and dreamy, as if she is escaping from the reality below her. In the background, on the ground, we can see Israeli soldiers in uniform, looking very small compared to the wall. The contrast is striking: on one side, the heavy, military barrier; on the other side, a child drifting away lightly, almost like a cartoon character. The painting uses mostly black, white and grey, except for the balloons, which are bright red, pink and orange.

Signification

Now, let’s interpret the meaning. This mural is clearly a political statement. The separation wall has been criticised internationally because it cuts through Palestinian land and makes daily life extremely difficult for many people. Banksy transforms this symbol of division and oppression into a canvas for a message of hope and freedom. The little girl represents innocence, childhood and dreams. By showing her flying over the wall with simple balloons, the artist suggests that no barrier, however high, can trap the human spirit. It also criticises the absurdity of the situation: a child would need magical balloons to escape her reality. But the presence of the soldiers reminds us that this is not a fairy tale: it is a real conflict, with real weapons. So the mural is both poetic and deeply political. It makes us feel empathy and, at the same time, it denounces the occupation without a single word.

Lien avec l’axe

This brings me to the notion “Art and power”. Banksy’s work is a perfect example of how street art can challenge authority. First, it occupies a public space illegally: the artist breaks the law to create his piece. This act of disobedience in itself is a challenge to the authorities. Second, the image is universal. You don’t need to read a complex text to understand it: a child flying over a wall with balloons is an image that travels the world. It puts the viewer directly in front of an uncomfortable truth. Moreover, the fact that it is painted on the wall itself, in a disputed territory, gives it a power that a painting in a museum could never have. The context becomes part of the artwork. In this sense, street art is the voice of the voiceless. It cannot stop a war, but it can influence public opinion, and public opinion is a form of power.

Opinion personnelle

In my opinion, street art is absolutely a legitimate form of political protest. Some critics say it’s vandalism because it’s done without permission. But I believe that when the official channels are blocked or when a wall literally divides people, artists have a duty to break the rules. History teaches us that many great works of protest were created outside the system. The question is: who does the public space belong to? If only governments and corporations have the right to put messages on walls, then we lose a form of democratic expression. I think Banksy reminds us that art is not just for galleries; it belongs to the streets, and to the people.

Conclusion

To conclude, this photograph of Banksy’s mural captures the essence of art as resistance. It transforms a symbol of conflict into a message of hope, and it forces the world to look. The little girl with her balloons tells us that walls can be climbed, even with simple dreams. And perhaps that is the greatest power of art: to make us imagine a different world.

Thank you.

Exemple de questions d'examinateur et réponses

Examinateur : Do you think street art is more effective than a protest march?

Élève : I think they are both useful, but in different ways. A protest march shows immediate numbers and pressure; it can force politicians to react quickly. Street art, on the other hand, stays. It remains on the wall day after day, reminding people of the message. It can reach people who wouldn’t attend a march. So, I wouldn’t say one is better than the other. They are complementary: the march is the voice, the mural is the memory.

Examinateur : Should street art be protected by law, even if it’s illegal?

Élève : That’s a difficult question. Normally, the law should apply equally to everyone. But in cases like Banksy’s, the artwork has such symbolic and cultural value that many people think it should be preserved. Perhaps the solution is to have a dialogue between the community and the artist. If the community wants to keep the mural, they could vote to protect it, even if it was created illegally. But if we protect all illegal art automatically, we might encourage destruction. So, I think each case should be examined individually, balancing freedom of expression with property rights.

Examinateur : Can you think of a local example of art being used for political protest?

Élève : In France, during the 2019 protests of the Yellow Vests, many walls were covered with graffiti and political slogans. Some of them were very artistic. For example, someone painted Marianne, the symbol of the French Republic, crying. It became a powerful image that was shared all over social media. It showed anger, but also sadness about the state of the country. So yes, art is often used in France to express political frustration.

 

Compréhension écrite

When Art Becomes Protest: The Power of the Poster ((adapté de The Guardian, 2021)

From the Vietnam War to the Black Lives Matter movement, posters have played a crucial role in political struggle. Cheap, easy to produce and impossible to ignore, a well-designed poster can communicate a message in seconds. During the 1960s, anti-war activists in the United States used bold graphics and short slogans – such as “Make Love, Not War” – to reach a mass audience. The famous photograph of a girl fleeing a napalm attack, transformed into a protest poster, shocked the world and changed public opinion.

More recently, the “We the People” poster series, created during the 2017 Women’s March, celebrated diversity and resistance. Artist Shepard Fairey, known for the Obama “Hope” poster, argues that “art is not a passive reflection of society; it is an active force that can inspire change.” Yet, governments have long understood the subversive potential of posters and often try to suppress them. In some authoritarian regimes, political posters are torn down, and the artists risk imprisonment.

In democratic countries, the tension remains. Should street posters be considered free speech or visual pollution? For many campaigners, the answer is clear: as long as power exists, protest posters will follow.

Questions :

  1. According to the text, why have posters been an important tool in political struggles?

  2. Give one historical example and one contemporary example of protest posters mentioned.

  3. What does Shepard Fairey mean by “art is not a passive reflection of society”?

  4. How do some governments react to political posters?

  5. In the final sentence, what does “as long as power exists, protest posters will follow” suggest about the relationship between art and power?

Corrigé

1. According to the text, why have posters been an important tool in political struggles?
Posters have been an important tool because they are cheap, easy to produce, impossible to ignore, and a well-designed poster can communicate a message in seconds.

2. Give one historical example and one contemporary example of protest posters mentioned.

  • Historical example: the anti-war posters of the 1960s, such as the “Make Love, Not War” slogan, or the poster showing a girl fleeing a napalm attack.

  • Contemporary example: the “We the People” poster series created during the 2017 Women’s March.

3. What does Shepard Fairey mean by “art is not a passive reflection of society”?
He means that art is not simply a mirror that shows what society looks like. Instead, it is an active force that can inspire people and bring about change.

4. How do some governments react to political posters?
Some governments try to suppress them. In authoritarian regimes, political posters are torn down, and artists risk imprisonment.

5. In the final sentence, what does “as long as power exists, protest posters will follow” suggest about the relationship between art and power?
It suggests that art and power are in constant tension. Wherever there is authority, there will always be artists who use posters to challenge it. Protest art is an inevitable response to power.

 

Compréhension orale

Interview radio

Script 

Voix : You’re listening to Arts Now. Today I’m joined by Lena, a young spoken word poet from Chicago. Lena, your poetry often tackles issues like racism and police brutality. Why did you choose words rather than images or music?

Lena : “For me, words are weapons. When I’m on stage, I can look people in the eye and challenge them directly. Poetry is an ancient form of resistance – you can trace it back to enslaved Africans who used songs and stories to survive. But it’s also incredibly modern. A three-minute poem can go viral and reach more people than a painting in a museum.”

Journaliste : Do you think art can really change politics, or is it just preaching to the converted?

Lena : “That’s the big question, isn’t it? I think art plants seeds. It might not change a law overnight, but it changes hearts. And changed hearts lead to changed votes. Every major social movement, from civil rights to LGBTQ+ rights, had artists at the forefront. We create the soundtrack, the visuals, the slogans. Without art, movements would be silent.”

Journaliste : Have you ever been censored or silenced for your poetry?

Lena : “Not directly, but I’ve been told to ‘tone it down’ at school events. That only made me louder.”

Questions :

  1. Why does Lena call words “weapons”?

  2. According to Lena, how does art contribute to social movements?

  3. Does Lena believe art can change politics directly? Explain her point of view.

  4. What example of historical resistance does she give?

  5. What happened to her at school events, and how did she react?

 

Corrigé

1. Why does Lena call words “weapons”?
Lena calls words “weapons” because when she is on stage, she can look people in the eye and challenge them directly. Words allow her to confront injustice and provoke a reaction, much like a weapon in a fight.

2. According to Lena, how does art contribute to social movements?
According to Lena, art contributes to social movements by planting seeds. It might not change laws directly, but it changes people's hearts. Changed hearts can then lead to changed votes. Artists provide the soundtrack, the visuals and the slogans that give movements their voice and energy.

3. Does Lena believe art can change politics directly? Explain her point of view.
No, she does not believe art changes politics directly overnight. She explains that art works indirectly: it plants seeds and changes hearts, and those emotional and intellectual shifts can eventually influence political decisions.

4. What example of historical resistance does she give?
She gives the example of enslaved Africans who used songs and stories to survive and resist.

5. What happened to her at school events, and how did she react?
At school events, she was told to “tone it down”, meaning she was asked to soften her message. Her reaction was to become even louder and more determined to speak out.

Contrôle continu

Compréhension écrite (10 points)
Lisez le texte suivant (extrait d’un discours de l’écrivain américain John Steinbeck, 1962, lors de la remise du prix Nobel) :

“Literature was not promulgated by a pale and emasculated critical priesthood singing their litanies in empty churches, nor is it a game for the cloistered elect, the tinhorn mendicants of low-calorie despair. Literature is as old as speech. It grew out of human need for it, and it has not changed except to become more needed. The ancient commission of the writer has not changed. He is charged with exposing our many grievous faults and failures, with dredging up to the light our dark and dangerous dreams for the purpose of improvement.”

Questions :

  1. According to Steinbeck, what is the mission of the writer? (2 pts)

  2. What does he reject about the way literature is sometimes perceived? (2 pts)

  3. True or false? Steinbeck thinks literature has become less necessary over time. Justify with a quotation. (3 pts)

  4. Explain the phrase “dredging up to the light our dark and dangerous dreams” in your own words. (3 pts)

B. Compréhension orale (10 points)

Script :

“My father was a factory worker, but every Saturday he would take me to the public library. He said, ‘Son, these books are more powerful than any politician. They can’t be silenced. Read everything, even what you disagree with. That’s how you stay free.’ I didn’t understand at the time, but now I do. When a government bans a book, it’s afraid of ideas. And when a people stop reading, they hand over their power without a fight.”

Questions :

  1. What habit did the speaker’s father have every Saturday? (2 pts)

  2. What did the father say about books compared to politicians? (2 pts)

  3. According to the speaker, why does a government ban a book? (3 pts)

  4. What warning does the speaker give in the last sentence? (3 pts)

C. Expression écrite (10 points)
Traitez au choix l’un des deux sujets (80-100 mots) :

  • Sujet 1 : In your opinion, can a song or a painting really change the world? Justify with examples.

  • Sujet 2 : Write a short paragraph about an artist (real or fictional) who uses their art to fight against injustice.

D. Expression orale (10 points)
À préparer en 10 minutes, à présenter en 5 minutes.
Vous présentez la citation suivante d’Oscar Wilde : “It is through art, and through art only, that we can realise our perfection; through art, and through art only, that we can shield ourselves from the sordid perils of actual existence.”
Expliquez ce que cette citation signifie pour vous, illustrez avec des exemples et reliez-la à l’axe « Art et pouvoir ».

Corrigé

A. Compréhension écrite

  1. The writer’s mission is to expose society’s faults and failures, and to bring hidden, dangerous dreams to light in order to help humanity improve.

  2. He rejects the image of literature as something produced by an elite, disconnected priesthood in empty churches, or as a game for a select few.

  3. False. Quotation: “it has not changed except to become more needed.”

  4. It means revealing the hidden, dark, and possibly dangerous thoughts and desires that people usually keep buried, with the aim of understanding and bettering ourselves.

B. Compréhension orale

  1. Every Saturday, his father would take him to the public library.

  2. He said that books were more powerful than any politician because they cannot be silenced.

  3. A government bans a book because it is afraid of ideas.

  4. He warns that when people stop reading, they surrender their power without resistance.

C. Expression écrite (exemple pour le sujet 1)
I firmly believe that a song or a painting can contribute to changing the world, even if it cannot do it alone. Art has a unique power to touch people emotionally and make them see a situation in a new light. For example, Bob Dylan’s “Blowin’ in the Wind” became an anthem for the civil rights movement in the 1960s. It didn’t change the law by itself, but it inspired millions to demand change. Similarly, Picasso’s “Guernica” conveyed the horror of war more powerfully than any news report. Art raises awareness, creates solidarity and fuels the courage needed to act. Therefore, while art alone may not change the world, it is often the spark that ignites the fire of transformation.

D. Expression orale (éléments attendus)

  • Interprétation : l’art permet d’atteindre une forme d’idéal, d’échapper à la laideur du quotidien ; il est un refuge et une source d’élévation.

  • Exemples : la musique qui console en période difficile, la littérature qui fait rêver, les fresques murales qui embellissent un quartier gris et redonnent de l’espoir.

  • Lien avec l’axe : même dans cette fonction d’évasion, l’art exerce un pouvoir : il protège des « périls » et peut renforcer la résilience. Il s’oppose à la brutalité par la beauté.

  • Opinion personnelle : est-ce fuir la réalité ou mieux s’y préparer ?

Barème oral indicatif :
Prononciation / fluidité (3 pts), lexique approprié (3 pts), syntaxe et grammaire (2 pts), argumentation (2 pts).

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