Global days of action, global public transcripts and democracy: a reply
This is a reply to:Gregoratti, Catia. 2014. “Global days of action, global public transcripts and democracy.” Global Discourse. 4 (2–3): 353–366. http://dx.doi.org/10.1080/23269995.2014.914367.
Occupy Pittsburgh and the Challenges of Participatory Democracy
Local manifestations of Occupy Wall Street (OWS) have emerged around the world with enthusiasm for the participatory style used in Zuccotti Park (New York). However, less attention has been paid to earlier lessons about the limits of these techniques for building diverse and sustainable movements. Much of the discussion in the USA ignores how OWS is connected to the long-term and global struggle against corporate-led globalization. Also, models of consensus practiced in many OWS sites have become reified to the verge of fetishization. Activists in the USA have yet to effectively incorporate many lessons from global justice activism including the need for a global analysis and strategy as well as greater sensitivity to how consensus practices can exclude people most harmed by the structures the movement opposes. This study draws from our involvement in Occupy Pittsburgh (Pennsylvania) and in the US Social Forum and World Social Forum (WSF) to compare the participatory democratic practices in each setting and identify lessons about organizing broad coalitions against capitalist globalization.
“To those who choose to follow in our footsteps”: making women/LGBT+ soldiers (in)visible through feminist “her-story” theater
Building on Judith Butler ’ s understanding of visibility as “ the object of continuous regulation and contestation, ” art/aesthetics studies in international relations, and feminist theater studies, we identify feminist “ her-story ” theater as a unique site where Western “ gender-/sexuality-inclusive ” soldiering is visibilized, contested, and subverted. Drawing on ethnographic observations of two award-winning dramas, interviews with artists and military hosts, and ﬁ ndings from a wider research project on contemporary British military culture, we reveal the key role of heteronormative and patriarchal cultural discourses in reproducing the ambivalent positionalities of women/LGBT+ soldiers. We argue that the very visibility of women/LGBT+ soldiers on the stage paradoxically operates to make the complexities of – and struggles against – masculinized heteronormative military cultures invisible. Furthermore, despite artists ’ attempts to dissociate empowerment through soldiering from the problematic context of modern con ﬂ icts, “ her-story ” theater ultimately entrenches gendered/racialized hierarchies that normalize Western military interventions. We conclude that only through sustained feminist re ﬂ ection on the contours of “ imagined ” futures of female/ LGBT+ soldiering can this persistently problematic (in)visibility be productively disrupted.