How poetry and song can grapple with the dialectics of crisis and agency, and become tools for transformative research
Activist scholarship inspired by a cultural-historical tradition often seeks to foster agency with people facing crisis. The aim is to develop new understandings and bases for action that can help people break away from the status quo and change what is possible. Cultural-historical theory understa...
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| Published in | Outlines. Critical practice studies Vol. 25; pp. 1 - 26 |
|---|---|
| Main Author | |
| Format | Journal Article |
| Language | English |
| Published |
Copenhagen, Denmark
The Outlines Association
19.07.2024
Outlines, Critical Practice Studies |
| Subjects | |
| Online Access | Get full text |
| ISSN | 1399-5510 1904-0210 |
| DOI | 10.7146/ocps.v25i.141286 |
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| Abstract | Activist scholarship inspired by a cultural-historical tradition often seeks to foster agency with people facing crisis. The aim is to develop new understandings and bases for action that can help people break away from the status quo and change what is possible. Cultural-historical theory understands crisis and agency dialectically, linking both to individual and social transformation. Dialectic understandings of crisis foreground breakdown and renewal. Dialectic understandings of agency foreground personal contributions with social consequence and contingency. I argue that these understandings are crucial as a point of departure in research where we stand alongside others on grappling with matters of equity and justice. However, establishing these as a shared basis for resisting, reimaging and rebelliously acting is not straightforward and requires countering dominant neoliberal framings. Arts-based forms have significant potential to enable precisely such disruptive thinking. The line ‘Dance on the shark’s wing’, opens a poem by Nikos Kavadias, bluring the lines between the real and the imagined, the fearful and the possible. ‘No One Is Alone’, a song from Sondheim’s ‘Into the Woods’, tells a story of how individual interest is overcome through collective wisdom and consequential action. These examples are discussed as potential transformative tools that could provoke and support collective radical imagination based on coherent understandings of individual agentic contributions to collective struggles. An argument is presented to embrace arts genres as means to destabilise engrained ways of thinking about crisis and agency, thus strengthening collaborative efforts in activist research |
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| AbstractList | Activist scholarship inspired by a cultural-historical tradition often seeks to foster agency with people facing crisis. The aim is to develop new understandings and bases for action that can help people break away from the status quo and change what is possible. Cultural-historical theory understands crisis and agency dialectically, linking both to individual and social transformation. Dialectic understandings of crisis foreground breakdown and renewal. Dialectic understandings of agency foreground personal contributions with social consequence and contingency. I argue that these understandings are crucial as a point of departure in research where we stand alongside others on grappling with matters of equity and justice. However, establishing these as a shared basis for resisting, reimaging and rebelliously acting is not straightforward and requires countering dominant neoliberal framings. Arts-based forms have significant potential to enable precisely such disruptive thinking. The line ‘Dance on the shark’s wing’, opens a poem by Nikos Kavadias, bluring the lines between the real and the imagined, the fearful and the possible. ‘No One Is Alone’, a song from Sondheim’s ‘Into the Woods’, tells a story of how individual interest is overcome through collective wisdom and consequential action. These examples are discussed as potential transformative tools that could provoke and support collective radical imagination based on coherent understandings of individual agentic contributions to collective struggles. An argument is presented to embrace arts genres as means to destabilise engrained ways of thinking about crisis and agency, thus strengthening collaborative efforts in activist research Cultural-historical theory understands crisis and agency dialectically, linking both to individual and social transformation. In this paper I argue that dialectical understandings of crisis and agency are crucial in resisting this neoliberal stranglehold over how we understand the nature of crisis and agency, and our position in relation to matters that matter. Berman (1984) suggests that we must connect theory to the 'street' and be in contact with what lives are like; Stetsenko (2022) argues similarly that theory and research need to come out of life and return to life, connecting to struggles on the ground. Stetsenko (2019) draws on Bierria (2014) to distinguish such hegemonic agency from insurgent forms that exploit fissures in present systems, and radical transformative agency that is "overcoming accommodation of, or adaptation and acquiescence to, the existing status quo of a neoliberal political framework with its power imbalances, exploitation, oppression, and violence" (Stetsenko, 2019, p. 8). |
| Author | Hopwood, Nick |
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| SubjectTerms | Activists Adaptation Collaboration Collective action Dialectics Imagination Inequality Neoliberalism Oppression Traditions |
| Title | How poetry and song can grapple with the dialectics of crisis and agency, and become tools for transformative research |
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