This open access book discusses how citizenship is performed today, mostly through the optic of the arts, in particular the performing arts, but also from the perspective of a wide range of academic disciplines such as urbanism and media studies, cultural education and postcolonial theory. It is a compendium that includes insights from artistic and activist experimentation. Each chapter investigates a different aspect of citizenship, such as identity and belonging, rights and responsibilities, bodies and materials, agencies and spaces, and limitations and interventions. It rewrites and rethinks the many-layered concept of citizenship by emphasising the performative tensions produced by various uses, occupations, interpretations and framings.
In this book, Tamar Groves and Inbal Ofer explore the effects of social movements' activism on the changing practices and conceptions of citizenship. Presenting empirically rich case studies from Latin America, Asia and Europe, leading experts analyze the ways in which the shifting balance of power between nation-state, economy and civil society over the past half century affected social movements in their choice of addressees and repertoires of action. Divided into two parts, the first part focuses on citizenship as a form of political and cultural participation. The three case studies that make up this section look into the ways in which social movements' activism prompted a critical re-evaluation of two central questions: Who can be considered a citizen? And what forms of political and cultural participation effectively enable citizens to exercise their rights? The second section focuses on citizenship as a form of community building. The three case studies that are included in this section address the ways in which activism fosters new forms of advocacy and communication, leading to the emergence of new communities and assigning qualities of fraternity to the status of citizenship. Throughout most of the 20th century social movements' literature focused on the challenges these entities posed to the state, since it was the state that had the capacity and willingness to grant social and economic concessions. This situation started to shift in the late 1960s. By the 1980s the existing configuration between the state, civil society and the economy was increasingly challenged by market penetration. Accordingly, we witness a proliferation of social movements that no longer target state institutions, or do so only partially. Their repertoires of action interact continuously with everyday practices, re-shaping demands within specific organizational, legislative and political contexts. As a result, such activism expands the understanding of the concept of citizenship so as to include demands relating to livelihood; division of resources; the production and dissemination of knowledge; and forms of civic participation and solidarity. Written for scholars who study social movements, citizenship and the relationship between the state and civil society over the past half century, this book provides a fresh insight on the nature of citizenship; increasingly framing the condition of being a citizen in terms of performance and on-going practices, rather than simply in relation to the attainment of a formal status.
This open access book discusses how citizenship is performed today, mostly through the optic of the arts, in particular the performing arts, but also from the perspective of a wide range of academic disciplines such as urbanism and media studies, cultural education and postcolonial theory. It is a compendium that includes insights from artistic and activist experimentation. Each chapter investigates a different aspect of citizenship, such as identity and belonging, rights and responsibilities, bodies and materials, agencies and spaces, and limitations and interventions. It rewrites and rethinks the many-layered concept of citizenship by emphasising the performative tensions produced by various uses, occupations, interpretations and framings. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Undocumented migrants in the United States raise compelling questions about political legitimacy, obligation, and citizenship. If they are truly members of their communities, should they have a voice in the laws and policies that impact their lives? Should their interests be considered, especially in light of exploitation by employers, the possibility of detention and the threat of deportation? This book argues that we do indeed owe certain moral and political obligations to those individuals who have been living and contributing to their communities, regardless of whether they initially arrived without documents. McThomas' argument is based on flipping the way we think about political obligation and state-granted citizenship. Instead of the conventional understanding that the conferral of rights by the state obligates citizens to perform certain duties, she argues that the performance of civic duties and obligations – "performing citizenship" – should trigger corresponding rights and protections. The book combines theory and practice to make this argument, analyzing state-level legislative debates about extending driving privileges and in-state tuition rates to undocumented residents. Consistent with the book’s main argument, we see contested notions of what constitutes citizenship in these debates and a growing acknowledgment that those who perform citizenship deserve certain rights and privileges.
Based on over a decade of fieldwork conducted with urban Roma, Staging Citizenship offers a powerful new perspective on one of the European Union’s most marginal and disenfranchised communities. Focusing on “performance” broadly conceived, it follows members of a squatter’s settlement in Transylvania as they navigate precarious circumstances in a postsocialist state. Through accounts of music and dance performances, media representations, activism, and interactions with both non-governmental organizations and state agencies, author Ioana Szeman grounds broad themes of political economy, citizenship, resistance, and neoliberalism in her subjects’ remarkably varied lives and experiences.
In the Laws, Plato theorizes citizenship as simultaneously a political, ethical, and aesthetic practice. His reflection on citizenship finds its roots in a descriptive psychology of human experience, with sentience and, above all, volition seen as the primary targets of a lifelong training in the values of citizenship. In the city of Magnesia described in the Laws erôs for civic virtue is presented as a motivational resource not only within the reach of the 'ordinary' citizen, but also factored by default into its educational system. Supporting a vision of 'perfect citizenship' based on an internalized obedience to the laws, and persuading the entire polity to consent willingly to it, requires an ideology that must be rhetorically all-inclusive. In this city 'ordinary' citizenship itself will be troped as a performative action: Magnesia's choral performances become a fundamental channel for shaping, feeling and communicating a strong sense of civic identity and unity.
Theaters of Citizenship investigates independent Egyptian performance practices from 2004 to 2014 to demonstrate how young dramatists staged new narratives of citizenship outside of state institutions, exploring rights claims and enacting generational identity. Using historiography, ethnography, and performance analysis, the book traces this avant-garde from the theater networks of the late Hosni Mubarak era to productions following the Egyptian revolution of 2011. In 2004, independent cultural institutions were sites for more democratic forms of youth organization and cultural participation than were Egyptian state theaters. Sonali Pahwa looks at identity formation within this infrastructure for new cultural production: festivals, independent troupes, workshops, and manifesto movements. Bringing institutional changes in dialogue with new performance styles on stages and streets, Pahwa conceptualizes performance culture as a school of citizenship. Independent theater incubated hope in times of despair and pointed to different futures for the nation’s youth than those seen in television and newspapers. Young dramatists countered their generation’s marginalization in the neoliberal economy, media, and political institutions as they performed alternative visions for the nation. An important contribution to the fields of anthropology and performance studies, Pahwa’s analysis will also interest students of sociology and Egyptian history.
What does it mean to be a "citizen" of the United States? In the simplest of terms, citizenship is a limited position of identity, relegated to a narrow definition of legal and geographical position for an individual. But to be a "citizen" in America means far more than that---it becomes an accepted image of our collective identity which seeks an historical and political supremacy that allows America, and its citizens, to claim ideological status over anyone who is not a part of that nationalistic frame. The citizen has, for us, become a set of understood rights and privileges, inexorably connected to a further set of duties and responsibilities that we must perform in exchange for those rights.
"Learn About the United States" is intended to help permanent residents gain a deeper understanding of U.S. history and government as they prepare to become citizens. The product presents 96 short lessons, based on the sample questions from which the civics portion of the naturalization test is drawn. An audio CD that allows students to listen to the questions, answers, and civics lessons read aloud is also included. For immigrants preparing to naturalize, the chance to learn more about the history and government of the United States will make their journey toward citizenship a more meaningful one.
