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| 1 |
ID:
111516
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| Publication |
2012.
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| Summary/Abstract |
Recent attempts to rethink labour history and contemporary labour struggles in India have variously memorialised the 'lost worlds' of industrial labour struggle and argued for stretching the terms of labour historiography, in part, by moving beyond the conceptual and political boundaries of the factory gate to take into account the complex configurations of labour, accumulation and struggle. This article contributes to this scholarship with a methodological focus on political theatre by three organisations in India. I ask what we might learn about labour and labour struggles when we look through the lens of cultural activism by the urban and rural poor. Drawing on Kalyan Sanyal's provocative distinction between accumulation and need economy, I argue that contemporary cultural work and activism both refuses and contributes to the market-based fetishisation of surplus-value as the sole purpose of work and as such it founds a view of labour and labour struggle that learns from labour and not just capital.
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| 2 |
ID:
097210
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2010.
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| Summary/Abstract |
This article studies political theatre as a space of political economy. When conceptualising theatre as a space of political economy, it is important to maintain distinctions between three formulations of the relationship between culture and development: that capitalism is cultural, that cultural labour is a space of political economy, and that culture is capital today. While agreeing with the first two formulations, this article suggests an amendment to the third formulation, as put forward by critical scholarship on the culturalisms of neoliberal governmentality, particularly in George Y dice's influential book The Expediency of Culture. Rather than subsume culture completely within histories of state and capital while evacuating struggle and hope, the author draws on political activism and critical play by two theatre groups in India to theorise everyday political economy as grounded in multiple histories of power, producing complex subjects of struggle
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| 3 |
ID:
079479
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2007.
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| Summary/Abstract |
In this article we draw upon religious sermons, poetry and first-person accounts to show how rural Sri Lankans used localized meanings of security and sacrifice to mobilize against a project of national development. Using Victor Turner's concept of social drama and the idea that state officials and citizens relate as audiences of each others' actions, we bring the methodological lens of performance to the study of citizenship, development, and legitimacy. The authors find that people's attempt to transform everyday meaning into legitimate meaning forms a profound kernel in the process of making of state-society relations
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