Anarchism and Art

Mark Mattern

Description

Situated at the intersection of anarchist and democratic theory, Anarchism and Art focuses on four popular art forms—DIY (Do It Yourself) punk music, poetry slam, graffiti and street art, and flash mobs—found in the cracks between dominant political, economic, and cultural institutions and on the margins of mainstream neoliberal society. Mark Mattern interprets these popular art forms in terms of core anarchist values of autonomy, equality, decentralized and horizontal forms of power, and direct action by common people, who refuse the terms offered them by neoliberalism while creating practical alternatives. As exemplars of central anarchist principles and commitments, such forms of popular art, he argues, prefigure deeper forms of democracy than those experienced by most people in today's liberal democracies. That is, they contain hints of future, more democratic possibilities, while modeling in the present the characteristics of those more democratic possibilities. Providing concrete evidence that progressive change is both desirable and possible, they also point the way forward.
Acknowledgments

1. Introduction

2. Anarchism and Democracy

3. DIY (Do It Yourself) Punk Music

4. Poetry Slam

5. Graffiti and Street Art

6. Flash Mobs

7. Prefiguring Progressive Change

Notes
Bibliography
Index

Sujets

• Arts visuels
• Histoire des Arts
• Histoire des Arts
• Histoire des arts visuels
• Film
• Visual culture
• Película fotográfica

Informations

• Publié par: State University of New York Press
• Date de parution: 01 mars 2016
• Nombre de lectures: 1
• EAN13: 9781438459219
• Langue: English

Extrait

Anarchism and Art
SUNY Series in New Political Science

Bradley J. Macdonald, editor
Anarchism and Art
Democracy in the Cracks and on the Margins
Mark Mattern
Cover image: “Madison Near Pitt—NYC 2000” by Dan Witz. © Dan Witz, 2000.
Published by State University of New York Press, Albany
© 2016 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
For information, contact State University of New York Press, Albany, NY
www.sunypress.edu
Production, Eileen Nizer
Marketing, Anne M. Valentine
Library of Congress Cataloging-in-Publication Data
Mattern, Mark, 1954–
Anarchism and art : democracy in the cracks and on the margins / Mark Mattern.
pages cm — (SUNY series in new political science)
Includes bibliographical references and index.
ISBN 978-1-4384-5919-6 (hardcover : alk. paper)
ISBN 978-1-4384-5921-9 (e-book)
1. Politics in art. 2. Arts—Political aspects. 3. Democracy and the arts. 4. Popular culture—Political aspects. 5. Art and society. I. Title. NX650.P6M37 2016 700.1 03—dc23 2015006075
10 9 8 7 6 5 4 3 2 1
Contents
Acknowledgments
Chapter 1. Introduction
Chapter 2. Anarchism and Democracy
Chapter 3. DIY (Do It Yourself) Punk Music
Chapter 4. Poetry Slam
Chapter 5. Graffiti and Street Art
Chapter 6. Flash Mobs
Chapter 7. Prefiguring Progressive Change
Notes
Bibliography
Index
Acknowledgments
I would like to thank Michael Rinella, SUNY Press editor, and his assistant, Rafael Chaiken, for their assistance in completing this project. I also thank Bradley Macdonald, editor of the New Political Science series at SUNY Press, for his excellent work in developing the series. I gratefully acknowledge the scholars and activists of the Caucus for a New Political Science, who make the series possible.
Nick Riley and Jeremy Feador deserve special thanks for helping me enter the world of DIY punk music. I thank Alix Olson for her generous insights about poetry slam, and apologize if I managed to get it wrong anyway.
I thank Baldwin Wallace University (BW) for its financial support during the research and writing of this book. I thank Donna McKeon, BW Political Science Department secretary and office manager, for her endless patience and capable assistance. I thank BW students Dan Clapper, Matt Kusznir, Alex Nagy, Jenna Perry, and Rich Teel for their research assistance.
Chapter 4, “ Poetry Slam ,” is adapted from my essay, “The Message in the Medium: Poetry Slam as Democratic Practice,” in Nancy S. Love and Mark Mattern, Doing Democracy: Activist Art and Cultural Politics (Albany, N.Y.: SUNY Press, 2013), 121–42.
1

Introduction
“We don’t believe in waiting until after the revolution. … If you want a better world you should start acting like it now.”
—Unbound Bookstore, Chicago 1
“We need not conquer the world. It is enough to make it anew.”
—Subcomandante Marcos 2
“All human experience teaches that methods and means cannot be separated from the ultimate aim. The means employed become, through individual habit and social practice, part and parcel of the final purpose; they influence it, modify it, and presently the aims and means become identical. … The ethical values which the revolution is to establish in the new society must be initiated with the revolutionary activities of the so-called transitional period. The latter can serve as a real and dependable bridge to the better life only if built of the same material as the life to be achieved.”
—Emma Goldman 3
In this book, I argue that some forms of popular art exemplify anarchist principles and commitments that, taken together, prefigure deeper forms of democracy than those experienced by most people in today’s liberal democracies. Prefiguration has two meanings, one descriptive and the other prescriptive. First, it means descriptively that current social forms contain hints of future possibilities. In this book I will explore hints found in popular art forms of specifically more democratic future possibilities. Second, and prescriptively, prefiguration means that the ways we organize our lives in the present should model the characteristics of the world we want to create in the future. Our means should match the ends we seek. 4
The forms of art that I address in this book include DIY (Do It Yourself) punk music, poetry slams, graffiti and street art, and flash mobs. Marked as they are by tensions and contradictions, none prefigure utopian worlds. Yet each directs us toward alternative possibilities and new horizons. Each embodies commitments and practices that challenge contemporary political, economic, and cultural forms of domination while offering promise of more creative, satisfying, and democratic worlds. People involved in these alternative worlds of popular art expressly or implicitly signal to the world their unwillingness to play by (all) the rules imposed on them by others and by institutions and structures of domination. They instead carve out spaces—both physical and temporal—where they live parts or all of their lives according to central anarchist principles. My task in this book is to describe their efforts and show how they prefigure a different, more democratic world.
Before turning to those art forms, I outline in this chapter the rationale for pursuing a prefigurative strategy and defend a focus on popular arts and culture. In the second chapter, I address anarchism and democracy, exploring their affinities and tensions while identifying analytical footholds for interpreting the case studies that follow. Chapters 3 through 6 are case study chapters addressing, in order, DIY punk music, poetry slams, graffiti and street art, and flash mobs. In chapter 7 , I return to the themes of prefiguration and political strategy.
Strategies for Progressive Change
Sociologist Erik Olin Wright identifies three general strategies for progressive change that he calls ruptural, symbiotic, and interstitial. Ruptural strategies, which Wright identifies primarily with revolutionary socialism, entail a direct assault on the state and capital, and are considered successful to the degree that a wholesale and complete rupture with those institutions is achieved. The vestiges of state and capital must be decisively destroyed or abandoned for a new order to emerge. Revolutionary individuals and groups seek not to engage productively and positively with existing institutional forces; rather, they seek to destroy them via direct confrontation. Wright characterizes this bluntly as a “Smash first, build second” strategy. 5 Social classes are the main historical actors in this war of competing forces, with the working class serving as the primary agent for driving ruptural change.
Some theorists and activists continue to view this ruptural strategy as viable, despite the apparently long odds. The dissolution of the former Soviet Union took with it the most obvious threat to neoliberalism, capitalism, and liberal democracy; and, anyway, few progressives viewed the former Soviet Union as an example worth emulating. Worldwide, the primary agent of revolutionary change in Marxist theory, the working class, has largely not fulfilled expectations. According to Marx, the working class would eventually recognize the exploitation it experiences and its own class interest in overturning capitalism. Marxists anticipated that workers’ widespread disenchantment with capitalism would lead to revolt to overturn capitalism in favor of socialism and, eventually, communism. Instead, most workers in industrialized countries have largely abandoned whatever revolutionary goals they may have at one time embraced in favor of higher wages, better working conditions, and social welfare spending that mitigates the harsher edges of capitalism. Many have become enthusiastic believers in ideologies that naturalize capitalism and its attendant inequalities. Overall, workers in the United States and elsewhere hardly seem poised to assume a revolutionary role.
On a smaller scale, some activists engage in ruptural strategies such as social banditry and sabotage in various forms. James Buccellato, for example, describes the social and political role of outlaws in U.S. history in terms of their direct assaults on institutions of state and capital. 6 According to Buccellato, despite—or perhaps because of—their illegality, these outlaws were widely viewed favorably by common people who saw them as representing struggles against the odds that resonated with their own struggle to attain material security. Buccellato also cites cyberjamming, factory occupations, graffiti art, rioting, and squatting as examples of outlawry in direct attack on the state or capital. At least some contemporary anarchists embrace these forms of outlawry. As noted by Pattrice Jones, “Outlaws routinely disregard the authorities and boundaries established by people while working cooperatively with one another to pursue their own purposes in the context of human exploitation and expropriation. This is anarchy in its purest form.” 7 Whatever success one can ascribe to these outlaws, it is largely temporary, brief, and falls far short of achieving significant ruptural change. Those who view this ruptural strategy skeptically advocate some form of gradualist, evolutionary strategy that would produce desired changes through a process of metamorphosis. Wright’s second two strategic categories reflect this shift to gradualism.
Wright’s symbiotic strategy, which he associates with social democracy, accepts that, at least in the present, the state and capital must be reckoned with; they cannot simp