From my article in The Sociological Quarterly‘s new special issue on Occupy Wall Street:
Public Performance and Backstage
We know that Rosa Parks was not merely tired when she refused to give up her bus seat. She was acting with agency, and the appearance of spontaneity was part of an intentional performance designed for strategic effect (Polletta 2006). It was fine—intended even—for most people to see and sympathize with her as a tired woman who had simply had enough. It would not be fine, however, for students and strategists of social movements to take her performance at face value. We must also look behind the scenes.
Accordingly, it behooves us to explore Occupy Wall Street’s (OWS’s) backstage and not take its bountiful public performances at face value when assessing the movement (Goffman 1954). What complicates matters is that what we might usually think of as a movement’s backstage—for example, decision-making processes, general meetings, working groups, planning, and so on—is not really behind the scenes with OWS. It is all part of the public performance. To many OWS participants, internal democratic processes were often indistinguishable from external messages. To me OWS’s hyperdemocratic process was an important part of the public message. General Assemblies at Zuccotti Park in New York City operated as a brilliant theater, dramatically juxtaposing a visibly participatory people’s movement against what OWS participants and sympathizers perceived to be a rotted political system that has effectively disenfranchised most Americans. The downside is that General Assemblies were not functional forums for actual decision making. Because they were so cumbersome and easily derailed, many of the most active OWS organizers, myself included, eventually stopped going to them. Thus, much of the real decision making was pushed back-backstage into underground centers of informal power…
Read the full article on The Sociological Quarterly website (no paywall). Check out the full special section on Occupy Wall Street here.
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