Democrats For Change - the short version (Brian) by Winston

Tomorrow (June 2, 2009), empowered citizens of New Brunswick, under the name Democrats for Change, will seek to bypass and in fact directly challenge machine gatekepers by gaining seats within the Democratic power structure of Middlesex County, New Jersey. At first glance, it is easy for many on the "left" to ask, "How is this revolutionary? Seeking to be part of the system? Let alone through being part of a major party?" In reality, this campaign is a living, breathing example of revolutionary democracy's goals in the simplest sense - (do what is necessary, including infiltrating constituted, entrenched, "system" power to) increase democracy, build dual power (not to mention the campaign itself has been organized and conducted in the most democratic of ways, and includes a clearly people-power preliminary "platform").

I commend these citizen candidates and wish them success on this important day. I look forward to longer, more reflective analyses of the campaign on this blog from those who fortune has made more than the mere cheerleader I am.

"Busted" Approach? (Brian) by Winston

So I used to read a lot of Adbusters back in the day. It got kind of stale and repetetive. It still has some very informative and interesting pieces (and I learned the word "meme" from them before pundits now used it), but I mentally associate it more with an anarchist/black block kind of vibe or a subversive-art vibe (I don't have an artisitic bone in my body, so there's only so much accessibility there, ya know??). I still get email updates from their "culture jammer" communiques.

Issue #82 is out - Endgame Strategies. In the email highlighting the issue's features, I noticed this:

Revolutionary Potential: Editor-in-Chief, Kalle Lasn, probes the latent potential for a replay of 60s-style insurrection in the streets of North America. Will Generation O rise to the challenge of the times?

They just don't get it, do they? Why do we need to look backwards? (I don't want to start a thread of comments about the 60s - I think this blog and the movement have done a good job parsing out what to take from the 60s and what to leave behind or make anew) Why do we need some "insurrection"? I mean, my rage mojo is trigger-happy these days - some days I wanna take to the streets and throw Molotov cocktails all over...but does that create one more shred of democracy?? And I love a good march, but they need to be productive, not just polemical. Not to mention, street actions and many other 60s products were made for photojournalism and, to a greater degree, television. We now live in, for lack of a less-hackneyed phrase, the "digital age." No offense to Mr. Lasn, whom I respect, but I think "rising to the challenge" encompasses a lot more useful activities than getting turned back at the Pentagon or bustin' up some more Starbucks...

However, in the one piece released online thus far, David Graeber takes a less Adbusters-as-usual approach. It's a decent read. He plays with some terms more loosely than some pirates here might, and the stroke is broad -- but I'd like to hear what you guys think about his column. The intro paragraph, to whet your appetities:

We have reached an impasse. Capitalism as we know it is coming apart at the seams. But as financial institutions stagger and crumble, there is no obvious alternative. Organized resistance is scattered and incoherent. The global justice movement is a shadow of its former self. For the simple reason that it’s impossible to maintain perpetual growth on a finite planet, it’s possible that in a generation or so capitalism will no longer exist. Faced with this prospect, people’s knee-jerk reaction is often fear. They cling to capitalism because they can’t imagine a better alternative.

The Black Arts Repertory Theater/School (Keith) by X.

The Black Arts Repertory Theatre/School (BART/S) was founded in Harlem by Amiri Baraka to take music, poetry, art and performance out of the academy and into the street. As Baraka put it in a poem “we want poems that wrestle cops into alleyways and take their guns away.” BARTS is a great example of an alternative revolutionary institution that builds dual power and provides a material foundation for revolutionary ideas and culture.

LeRoi Jones (Amiri Baraka) leads the Black Arts parade down 125th Street toward the Black Arts Theater Repertory/School on 130th Street, New York City. (Source: Liberator 5.6 [June 1965], 27)

In 1965 Baraka, with Charles and William Patterson, Askia Toure, Clarence Reed, Johnny Moore and others to open the school. The school received funds from the a Johnson-era anti-poverty program. The funding source did nothing to change the revolutionary character of the school. The mission of BARTS was to build "a repertory theatre in Harlem, as well as a school. As a school it will set up and continue to provide instruction, both practical and theoretical, in all new aspects of the dramatic arts." The school held classes on creative writing, acting and other arts, philosophy, reading, math, and so forth.

While the BARTS itself didn’t last because of financial problems and internal political problems, it launched the Black Arts Movement which became the cultural wing of the Black Power Movement, and it remains one of the most important literary movements in US cultural history.

Alternative institutions and revolutionary culture (Keith, X., Tommy D) by X.

The role of the movement is not merely to compete with the system in the area of “politics” but to build an alternative infrastructure for the production and reproduction of all aspects of cultural and social life. This infrastructure must provide means and opportunities for musicians’ unions, artists’ collectives, writers’ circles, theater troupes, film-making coops, dance groups, fire spinning crews, etc. as well as sports clubs, yoga classes, health and nutrition coops, online support networks, community-based counseling, etc. that provide people with the means of expression needed to live a fulfilling creative life and the social and cultural foundation required to participate actively and meaningfully in the movement for the long term.

For the system to function, people must not only be capable of working under undemocratic and exploitative conditions when they arrive at work or at school, they must also be willing. The powers-that-be cannot rule by force alone; they must rely on a whole system of cultural production (universities, publishing houses, movie studios, churches, TV networks, art foundations, etc.) to make their rule appear good, just or at least inevitable. For the movement to develop we must have alternative institutions which can promote an alternative vision, alternative ideas, and a place to critique and deprogram ourselves from the system.

Too often, the traditional US Left relegates art and culture to the role of temporary interlude in the all important business of politics. Revolutionary Democracy does not draw such a line between culture and politics. Both are essential to the transformation of society. Culture is key to revolution and democracy. When practiced effectively, it encourages the unleashing of individual and collective potential that are suppressed or under-developed in the anti-democratic atmosphere of most of society’s existing institutions and organizations. The revolutionary democratic movement must organize progressive artists, cultural workers and people everywhere to build democratically-run institutions and organizations dedicated to the creative production of art and culture rooted in the experience of the movement, of people’s lives and of the transformative experience that comes with changing the world. The movement must build its own cultural events, theaters, studios, underground clubs, websites, etc. to challenge the backward culture spoon-fed to everyone by the corporate media but more importantly, to spur on, inspire and enlighten all people as they struggle with the concrete challenge of waging revolution in a new way.