The phrase "language of protest" is correct and usable in written English.
You can use it to refer to communication techniques and other forms of expression used during a protest. For example, you could say "The demonstrators used a powerful language of protest to call attention to their cause."
But even though the language of protest has changed in Egypt, it's still not accepted to openly attack the Muslim Brotherhood.
Emerging from a mealtime visit to Natasha, a single mother on benefits in Rotherham, he raged in his own inimitable language of protest: "Fucking hell... it's fucking Great Britain.
Whereas Kurds once looked to the West and patiently tried to master the human rights language of the European Union, now at least some of them are looking south, to the more urgent and concrete language of protest movements in the Arab world.
The language of music is, of course, allusive; the language of protest, as it was developing in the late fifties, was, of necessity, direct — and therefore depended on words, which helps to explain the presence of white folksingers in the forefront of the movement where black jazz musicians might be expected to stand.
From 127 tech firms teaming up against Trump's immigration ban, to Google employees' massive walkout in response to the immigration ban, to Lyft's $1 million donation to the ACLU, tech has taken up the language of protest and spoken loud and clear.
We don't quite have a language of protest.
This city therefore understands the language of protests like no other and demonstrations are an everyday sight.
They speak in a language of political protest that my generation has all but abandoned.
And yet the banner points to how the language of uprising, protest, occupation and revolution that is erupting around the globe has been absorbed — some might say co-opted — by advertising and mainstream culture.
His finest films are not hits like "Paris, Texas" (1984) and "Wings of Desire" (1987) but "Alice in the Cities" (1974) and "Kings of the Road" (1976), made in the forlorn wake of the nineteen-sixties, and blessed with what the German film historian Thomas Elsaesser calls "a new partisanship for images," as opposed to the faltering, hamstrung language of political protest.
He could speak in language more and more Germans understood -- the language of bitter protest at a discredited system".
