Showing posts with label Sara Ahmed. Show all posts
Showing posts with label Sara Ahmed. Show all posts

Monday, 28 September 2020

Breaking open: the work of listening in a racist world


image of dark landscape with sky and clouds - moody and blurry

This is a transcript from a talk I gave last week, to mark the end of my two-year postdoc at Concordia’s Acts of Listening Lab. It was written to be listened to live with an audience, but I hope that something comes through from the written words.

To celebrate the International Day of Listening, join Acts of Listening Lab postdoctoral fellow Rajni Shah as they reflect on two years of research into the work of listening across difference. This talk will include reflections on Rajni’s ‘Listening Tables’ series, as well as personal reflections from their own embodied experiences as a non-binary person of colour living on unceded lands. Those who identify as QTBIPOC are especially welcomed.



Start here:


As a listener (including those who are reading) I invite you to begin by thinking about what it means for your listening to meet my listening, in this online meeting place. This is a slow, somewhat meditative talk. It asks you to bring your listening. So before you go any further, take some time to listen in to your own body. Ask yourself:

What do I need in order to be able to listen right now?


Do you need to be here, reading or listening to this talk? Is now the moment? Perhaps when you tuned in, you found that you need something else right now. If so, please honour that desire.

If now is the right moment, please take one action to help yourself arrive into your own listening. This might be making a cup of tea, running a bath, meditating, changing your location, putting on music, or anything else that will allow you to feel just a little more arrived.

When you’re ready, we’ll begin.



Acknowledgments

I acknowledge that I wrote and recorded this talk as a visitor on Gadigal lands and waters. I offer deep respect and gratitude to Gadigal elders past, present, and emerging, and to all Indigenous peoples around the world who are doing the heart work of continuing and resisting.

I acknowledge the kookaburras and the lizards, and the many other creatures who were close by as I wrote this talk, whose songs and dances teach me about time.

I acknowledge the whales, who are making their passage south as I write this.

I acknowledge my own heritage and blood family, who are from the Kumaoni region in present-day Uttarakhand, India.

And I acknowledge and thank all the people who made the Listening Tables project. Luis, Caite, Andrea, MJ, and Alana at the Acts of Listening Lab. Guest listeners Ellen, Leo, Savita, and Eldad. The listeners who came back each time to share and grow this practice: Emma, Hanss, Seçkin, Victoria, and Ayumi. And all those who attended Listening Tables between August and November 2019.

Thank you.




*



I try to turn things right side up.

Which is the same as to say,

I turn things upside down.

Which is the same as to say,

I try to make sense of the world.

Which is the same as to say,

I tried to rearrange the room in order to rearrange our thoughts,

which is a way of saying,

I invited us to rearrange our minds and hearts by inviting us to rearrange the room, the table,
                                    and our listening.




1. Breaking


The first Listening Table. Tiohtià:ke/Montréal. August 2019.

I am nervous, and newly arrived back on to these lands. I came from unceded Gadigal lands, where I was not invited, and arrived on the unceded lands of the Kanien’kehá:ka Nation, where I was not invited, into the University, where I was invited, but which itself is at the heart of a history of peoples and actions that were not invited.

In any one moment, there are so many arrivals.
Harms done, that continue to harm.
Harms done that continue to be done.

I am aware of this discomfort, the shame of mobility and the histories that enable or necessitate it, the shame of racisms, my own and others, the shame that pours through lineage into our bodies.

On this day, same as most days, I am trying to find new ways to arrive myself.

At the first Listening Table, I was nervous. 30 people arrived. They had, as invited, brought food to share. Their hearts were suddenly right there, beating, in the room, expectant, and to a greater or lesser degree, trusting me to hold their experience. And I was nervous, and this is how it began.

I had arrived hours earlier, more than five hours earlier to set up the room. I like to give myself the time to arrive, see, here I was again, trying to give myself the time and space I needed to arrive. But when the people came into the room, I was nervous, I moved quickly. I remember myself losing the ground beneath my feet. I remember myself not yet feeling arrived from those lands, these lands, the bright sparkling waters and thick air of Gadigal country. Not knowing how to be arrived in that room. Not knowing how to be oriented.

That first table, I had no idea how things would go. I had a plan, of course. The plan was this. During the first hour, in one room, the Acts of Listening Lab, are ten people around a beautiful table. Microphones at the table. Pretty light hanging in the middle of the room. Those people, the ten, mostly strangers to each other, are invited to sit together for a full hour and wait for words to arrive. Those people are invited to meet across difference through listening.

A chance to be heard, and held.
A seat at the table.

And in the other room, the one that is called the Sun Room, the room in which we would be meeting now, in which I’m imagining us all sharing this talk, in the Sun Room are the rest of the 30. There are papered tables, pens and pencils, plants, natural light, cushions, chairs, and headphones through which these people can listen in to the listening conversation that is happening between the ten in the Acts of Listening Lab across the hallway. Later, in the second hour, we will come together, and share food, and share words.

This was the plan. And this is how it went. In some ways, it went exactly to plan.

I began with an introduction. And as part of this introduction, I invited us to enter into a process during which we would, together, select who would go into the Acts of Listening Lab, to sit at the table, and who would listen in from the Sun Room. I said something like this:

“The work of Listening Tables is about reorientation. It’s about the fact that how attention is distributed is political. One way of thinking about it is that it is about what happens when we centre the margins in order to problematise default behaviours. To this end, in considering whether you want to take part in the Table, please ask yourself whether yours is a voice and a body that you see represented in all its diversity in mainstream media, whether yours is a voice that is heard, that has agency in the world. If so, maybe it is your turn to listen in, to take a different role, in order for us to collectively reorient. If yours is a voice that you feel is unheard, unrepresented, placed at the margins, then you might consider stepping up, to take your place at the table, even if this feels a little challenging or takes some bravery.”

I like to make invitations in this way, clear enough that there is an intention that can be heard, but open enough that each person can gather around that invitation in the ways that resonate for them. Rather than me determining which bodies need to sit at the table, the invitation asks each person to determine for themselves which role they will take on that evening. It was an invitation to both listen in and listen out, to place ourselves at the point where those things meet.

What I didn’t say explicitly is that this is an anti-racist practice.

I wondered, in the weeks and months after that first Listening Table, whether I should have been more blunt.

Racism is a blunt tool that presents itself in blunt ways. The work of reorientation, of listening, of figuring out how we might even stand a chance of arriving in a room together, is at once subtle and blunt. It is careful, delicate, difficult work, and it is incredibly simple.

*

I’ve thought about trying to explain to you what actually happened during that first table. The complexities of the listening experiences that presented themselves over those few hours we spent together, and the many obstacles to listening that were present. I’ve thought about trying to explain how some people seemed so aware of their bodies and voices in relation to others, and others seemed not to be aware at all, and how these behaviours fell so devastatingly neatly along lines of racialisation and speaking privilege. But every time I try to put the facts of that evening into words, I get knotted up in the complexity of its emotions. It would take me more than the hour that we have to talk my way into that knot, and then I would have to leave us all knotted up.

Knotted up is a place I’ve been and know.
But I’d rather focus on loosening the knots than recreating them.


What I will say is this.

White supremacy was present with us in that room, during that first table, in all its hard armour.

Unexpressed pain and anger and grief were present, and they obliterated the possibility of listening.

Tenderness was present, as was warmth, trust, and desire.

Harm was done.

Hurt was felt.

And in the midst of all this, solidarity was present, and listening was present.

*

After the first Listening Table, a dear friend asked me: why didn’t you make it a closed space? Why not make it a project for people who identify as Black, Indigenous, and people of colour? My answer is that I love being in BIPOC-only spaces. I seek them out. I love leading for BIPOC communities. I love the places we are able to go together, the trust, the delicacy, the respect, the world-making that happens when we’re not dealing with the assumptions of whiteness. But those can’t be the only spaces in which we are able to express ourselves. They can’t be the only spaces in which we are seen and heard. And they can’t be the only spaces in which we are centered.

What happened during and following that first Listening Table was shattering. It was messy and hard and deeply felt for many people. And I changed things, of course I changed things as the project moved forward and evolved. But I also started to understand something about that shattered place.

I started to understand that this is the work.

I started to understand, to trust, that this is urgent work.

I started to understand how much work it would take.

It is hard work.

It is heart and spirit work.

It takes time and patience and persistence.

It takes trust and vulnerability and not knowing.

And it will always include breaking.



2. Open


It is just over a year since that first Listening Table.

Surprisingly, I am writing this talk from a place of breaking open.

At first, I feel this as an opposition. The task of writing a talk and the task of being with my own breaking open feel at odds. But I am curious to know what will come from this moment of thin spirit, thin skin. So I invite them to be one. I write as one who is breaking open. I write from a place that is in close kinship with the unbearable, with the unbearables. Some humans would call this the work of decolonising self. Some would call it sickness, or failure. Some would call it transformation. And some would pretend really hard that it was not happening.

But it is happening.

I am breaking open.

We are breaking open.

For many years, I did not do this blunt work. I was more subtle, more refined, and more successful. I was much more pleasing to those who needed pleasing, and much more approachable, and much less sensitive. I did everything I needed to do in order to survive. Or maybe, I did everything I needed to in order to help others survive. Or maybe, and I fear this one is the closest to the truth, maybe I did everything I needed to do in order to help systems of oppression stay alive. I hated the idea of finding solidarity with other people of colour, because I did not want to see race. I did not want to see racism. What I didn’t realise was what is now so obvious to me: that I was holding racism in place, and it was destroying me.

*

My parents bet their survival on rationalising the world. I bet mine on feeling it. Such a risky strategy! It leaves me feeling the sicknesses of systems that I carry inside me and am a part of. It leaves me a weak player, a sad and angry player, and sometimes, oftentimes, a non-player. My parents feel contentment, and they wish the same for me. The other day, one of them said to me: “I worry that you’re too focused on the negative. You have to make the best of what is here.”

What they don’t know is that the work I am doing is joy work. It is the work of making room for joy, and feeling joy in this body, as a world-making way of being. Sometimes, it feels like breaking open. Sometimes it feels like battle. Sometimes it feels like being a killjoy. Sometimes it feels like dreaming. Sometimes it feels like I am spinning away into other realms. And sometimes, the best of times, I remember that my joy exists right now, alongside all the other joys and sorrows. Sometimes, I remember that this moment isn’t one moment in a sequence of moments, but one moment in alongside and intertwined with many other moments. Sometimes I remember to unhook myself from the blinkered behaviours I have learnt for survival, and I live in alignment with my joy. Sometimes, this is the work. The work of feeling joy.



what needs saying in this moment?


I want to live in an expanded world where there is room for all of us.

Do you want this too?

But really?

Even if it means destroying what you have built?



what needs saying in this moment?

nothing needs saying. nothing more needs saying. nothing more can be said.

stop trying to speak yourself into the future.

stop trying to mend.

your listening reveals your own boundaries. uncovers the earth. opens up the possibility that you might notice the moon.

your own listening doesn’t even try to be separate from the vibrations of this planet.

your own listening asks for surrender.



what needs saying in this moment?


no more questions.

hold the moment open.

break the moment open.

and stay there.




3. The Work


What does it mean to reclaim that phrase, “the work”?

I take everything that I used to consider ‘not work’ and place it inside that phrase these days.

So breaking open is the work.

Taking rest is the work.

Having a conversation that spills over from where or what I intended, is the work.

Being held is the work.

Saying “I love you” and feeling it is the work.

Intimate friendship is the work.

Saying “no” is the work.

Holding change is the work.

Attending to the pain in my body is the work.

Crying is the work.

Dreaming is the work.

Listening is the work.

*

In my introduction to the first Listening Table, I said: “Let’s trust in the process, let’s trust we are the people who need to be in this room.”

I do believe that we were the people who needed to be in the room. Even the person who told me afterwards that they had a horrible time at the Listening Table, that they hated not being able to talk more, that they felt constrained and attacked and disappointed that they had trusted me. And that they wished they had listened in to their own desire to say “no” instead of feeling compelled by my invitation to show up. I have to trust that this was their work on that day.

I do believe that we were the people who needed to be in the room. I include in this my own inability to arrive, my own chaos and mess, my own desire to hold it all together, and my inability to do so. The ways in which things spilled over the edges and taught me from there.

What fascinates me about attempting to listen with others is that it shows me things I could not see on my own. Or at least, it lets me notice things I have known but didn’t want to know. It is as if in the attempt to listen there is a surface-rising that takes place. Patterns, beliefs, assumptions, violences, histories, inequities float to the surface.

And there they are, announcing themselves, very seriously and very lightly.

“Here we are. Just as we have always been. But this time, you’re listening.”

If we are listening, if we are paying attention, it is almost clumsy, almost funny, how these structural inequities play themselves out. Our histories, our assumptions, our held tongues and polite conversations hold themselves up to us. And we laugh or hate or cry or look away, but they are there.

This is the work.



4. Listening


I think about the Acts of Listening Lab exactly as its name suggests: as a laboratory for listening, in which we conduct experiments in listening. In which we hope to come a little closer to understanding what listening is, and what it might be. In which we practice something called listening. The Listening Tables were conceived from this idea, that there was a place in which some people could come together to explore listening, to examine listening, to listen.

But listening, as I understand it – a practice which some might call ‘being’ or ‘feeling’ or ‘attending’ – listening without already knowing what we are listening to, is a big ask. It’s a big ask in a world that revolves hard around short attention spans, around goal-oriented tasks, around doing and producing and declaring ourselves. In a world that moves fast towards naming, calling out, and acting. In a world that does not value slowness, or multi-generational thinking.

So these attempts to practice listening are often met with resistance.
They are resistant and they create resistance.

Each Listening Table had a guest listener. Someone who had been invited to listen, to bring their listening to the table. This was part of the experiment. Every time I told someone about this idea of a guest listener, they didn’t understand what it could mean. We are so attached to the declarative, to words and their meanings, that it is hard for us to understand what it might mean to bring a listening. When I told people about it, it was almost like I was telling them about a guest nothingness. “But what will they do?” people would ask, those people including some of the guest listeners themselves. “They will listen.” I would reply, but no one could grasp what this could possibly mean. Even after we had these conversations, most people assumed that the role of the guest listener would involve speaking. This tells me a lot about how we value listening and how we value speaking.

A guest listener is someone who is invited to listen.

Someone who is invited to bring their listening, in the knowledge that each person’s listening changes the room, changes the work that can happen in the room.

In the knowledge that listening is work.

That each of us is changing, creating, manifesting the world through our listening.

That each of our listenings are linked.

And indeed, each guest listener brought such a different energy to the table. And not only that, but the fact that the guest listener was different each time changed who was in the room, and how they came into that room. This was most clear when my mum was the guest listener. People came to that table with a desire to meet my mum, or with an expectation of what it might mean to have a parent, an elder, in the room. And my mum is blind, so her listening, her experience of what it means to sit quietly in a room, was shaped by her experience of blindness. And her blindness, and her relationship to me, shaped my own listening, and my own being at that table. At the end of the night, so many people thanked my mum for her presence, for what she brought. And she didn’t understand what she had brought, or what she had done, that had so moved those people. Because it wasn’t her. It was her in relation to all of us, and all of us in relation to each other.

Each of our listenings are linked. In fact, to name them as ‘each’ feels inappropriate to the work of listening. We are creating each other all the time. We are creating our worlds all the time. We are listening each other into being all the time. It is how we orient ourselves. And it is happening, whether we acknowledge it or not.




5. A racist world


[one minute’s silence - listen]




6. A world


for the listeners
for the healers
for the seekers
for the killjoys

for the guests   and the hosts
for the spirits
for the ghosts
for the circles   and the spirals    and the mountains      and the songs

for stumbling
for tumbling
for shattering
for failing
for overflow
for being-with
for holding open
for breaking open
and for shutting down

for saying no
again and again
until it is time to say yes

for the circles   and the spirals    and the mountains      and the songs
for the lizards    and the whales    and the kookaburras    and the ants

for saying no
again and again
until it is time to say yes

for you, who need to hear this.
you know who you are. we know who we are.

Thank you for your listening.

[end]

Thursday, 11 July 2019

(Too many notes) on: armouring, smiling, wonder, killjoys, applause, racism, and reciprocity

This is pretty much a mash up of blog posts I’ve drafted and never finished over the last couple of years. Today, I decide they are all related. Today I publish this mix of thoughts, all joined up without the lines, differently dated and side by side. Find what calls to you. Make your own lines and alliances. Jump in and out. Or don’t. I share them for my own pleasure, and warmly invite you to be alongside me if it’s our moment.


smiling
[06/19]

I was watching back some video of myself the other day. This is not something I usually do. The video was of me describing something quite painful, an incident that was bound up in racism. I was watching it back – listening, in fact – in order to transcribe my own words to help me prepare for a talk I was about to give. I was transcribing my words in order to understand something of my own language around resistance, invisibility, voicelessness, and my own shadows. But what I noticed most of all as I transcribed this video is that I smile throughout. Not a small smile, but a broad all-teeth smile. The one people often compliment me on. When I look back at it, I see that smile as a grimace, and as armour. It says: here I am, all armour in position, ready to make myself vulnerable at your pleasure. It’s disturbing. Always smiling, always ready to be in agreement, always the one to find a solution, never wanting to disrupt too much. The smile, I realised, is a pre-emptive way of being in the world. It foresees rejection, fear, and difficulty, and is underlined by shame. It offers protection. It says: I am already smiling, so how can you harm me? But the harm is already done.  Smile!


applause
[12/17]

I’ve always found the applause of theatre audiences troubling. I dutifully applaude at the end of most shows, but somewhere in me I have always had a feeling that I was in trouble. What I mean by this is that when I have seen a really powerful show, and then it ends, I often don’t feel like applauding, so when I applaude I am following along with a convention that feels fundamentally wrong in that moment. I’m troubled by the idea of what that applause does, and what it stands for. My experience is always that applause comes thick and fast, often moments before a show has finished or a final echo of sound has finished resonating. It is as if audience members want to leave the experience behind as quickly as possible – closing the door on whatever has been opened during the performance, to return to a more familiar terrain. The applause is closely followed by questions about what we all feel about the show we’ve seen. Did you like it? What did you think of it? Did we have a good time?

A few months ago, I was lucky enough to be in the audience for Hannah Gadsby’s show Nanette.* The show was everything I have read about it – funny, devastating, painful, honest. And like many people, I would describe it as one of the best shows I have ever seen. But it also brought something into focus for me, about what it means to be in audience and how that is related to being alive in the world with other people. Because at the end of the show, after a standing ovation and two short bows, many of us in tears, Hannah Gadsby left the stage, and the house lights went up and everyone filed out of the theatre. And it kind of broke my heart that it felt possible for us to walk out of the theatre like that, to move back into sociality so easily, with a round of applause. Because the show had been difficult and confronting, and had opened up something so rare that I feel like it’s barely touched on in most shows I have seen.

And yes it was all the stuff before that led up to this moment, but I realised that this moment always breaks my heart a little. When we sit together and share something like that, something that is about what happens when we are in a theatre, and that is simultaneously about what happens when we look at each other in the world - how we make stories about ourselves and about others, how we cause violence to each other, how we are capable of so much more - when we see something like that, and then we are left sitting in a room together, I want to know that we are not capable of simply walking back out into our lives. I want to know that something like that changes us, that it allows us to relate to each other differently, that maybe we take a moment to see whether another person is okay. I want to know that we could sit together quietly before dispersing.

It told me so much about how we function as a society inside late capitalism [& the performance I saw was at the Sydney Opera House, fully resonant with a violent colonial present] that I had been sitting in a room with hundreds of people, and we had shared an incredibly moving experience, and many of us were weeping, and yet when the house lights went up most people went to the bar and made chat with the people they already knew, or travelled home. Transaction completed. There was no room for processing, no room for quietness or difficulty or awkwardness, no room for messiness, no room for being together across difference. It was almost as if the being together had never happened.

* I saw Nanette in the theatre, not in its later Netflix version, and I think these are fundamentally different experiences


wonder
[10/17]

A few weeks ago I began a Feminist Killjoys Reading Group on Darug land in Western Sydney. Each day we read a blog post from Sara Ahmed’s feministkilljoys.com and we talked about our own experiences in relation to the ideas in that blog post. On the second day, I introduced the blog post called ‘Feminist Wonder’. In it, Ahmed writes about wonder as something that is not necessarily outside history, or outside politics, but that brings historicity into view as something made. Something that has been made and can therefore be unmade. And then she writes about shattering:

“I am interested in how consciousness of gender (say, as a way of directing human traffic) can be a world consciousness that can leave us shattered. But shattering is also what enables us to become alive to possibility. Becoming feminist can inject life into a world by allowing you to recognise not only that things acquire shape over time, but that this shape is not necessary or inevitable; that possibilities are not always lost, even when we have given them up.”

This is what it felt like to me at the end of Hannah Gadsby’s show, like the world had been exposed as made, in a moment of both horror and wonder. The show left me feeling shattered. I think this is a good word for it. And the theatre, as I have known it, is one of the places where I can experience this shattering feeling without needing to put myself back together too soon. A world made and unmade. Constructed through wonder. In the company of others.

And I ask myself: what do you need in order to feel safe enough to become shattered?


racism
[07/18]

I recently published something that had at its centre my own experience of a racist incident. An incident that you might call ‘mildly racist’. But these are the ones that pull at my guts, and I have come to believe that while some racism can cause more immediate harm than other forms of racism, the idea that some racism might be ‘mild’ is misleading. The small things are perhaps the most poisonous. It is in the detail that the violence is rooted.

But you see the thing is that when I published this something, I knew the fallout would be too great, and I left it out. I left the word ‘racist’ out of the writing. Cowardly? Maybe. … because… it was minor / I did not want to deal with the consequences of calling this person out / my life has been filled with these minor incidents of eradication / they seem not worth telling. I am, finally, able to feel them deeply, but I have no idea what to do with them. They do not feel like they warrant attention from a wider audience. And yet, they have shaped me, held my body in place, and taught me to be very quiet for a very long time. And now I want to do something with all those moments, because they are gathering, and they are teaching me that it is not an indulgence but a responsibility to both feel them and share them with others.


feminist killjoys [12/18]

“If we think with and through orientation, we might allow the moments of disorientation to gather, almost as if they were bodies around a different table. We might, in the gathering, face a different way. Queer objects might take us to the very limits of social gathering, even when they still lead us to gather at the table. Indeed, to live out a politics of disorientation might be to sustain wonder about the very forms of social gathering.” – Sara Ahmed, Queer Phenomenology

This is one of my favourite Sara Ahmed quotes. I come back to it again and again, finding myself differently in relation to it. I read it out loud at some of the first sessions of the Feminist Killjoys Reading Group. To set the scene. To say: you are welcome here. To say: we can do this differently. And to say: but it will take work – the work of sustaining wonder about the very forms of social gathering.

How attention is distributed is political. It is the most political thing.

Several years later, the Feminist Killjoys Reading Group continues. Now there is a core group of five who meet regularly and organise monthly events at which anyone is welcome. It is a growing community. And creating this community is one of the ways of saying: it takes work to be a killjoy, and we need each other in order to be able to continue doing this work. In order for this work to exist, part of the work needs to be the work of finding solidarity. And not parcelling each other up in the process.

The other day, I spent time with some of the killjoys reflecting on the work we have done so far. One of the reflections was: We have survived. We took this as celebration. Survival as celebration. We all knew what this meant. To have continued, to have survived, means we are doing the work.


reciprocity
[05/19]

I keep having this conversation with friends, peers, people I’m mentoring. I find it is particularly something that comes up around people who have been raised as girls and women, and that it is particularly heightened in racialised bodies. It is an inability to receive. A difficulty in finding oneself worthy of receiving a gift, a kindness, attention, gratitude, or praise. It is an inability to perceive worth in self. But the conversation I keep coming back to is about reciprocity. What it takes to create/allow flow in the world, to create/allow community and conversation and belonging. That it takes both give and receive. The ability to be generous and to take a stand in one’s own body and belong there. They are always linked. To be able to receive what is being offered, to be able to both see and be seen. This work is transformative, and hard, and necessary for survival.   reciprocity


Thursday, 22 October 2015

2. On niceness

The notes went

[Niceness being used to disguise:]

Reproducing structures of oppression

Reproducing structures of listening (who is heard, what is heard)

Reproducing the very shapes of conformity and obedience – in patterns of behaviour, patterns of speech, patterns of dress, and patterns of life-arc

as opposed to

[what is seen as] BEING TOO NICE = [labelled as] Of Lesser Value


I think these notes might actually already hold everything I want to say on the topic – which is why I held this blog post idea in draft for quite a while, making it shorter every time I come across it. The notes above lead to quite a diverse array of possible examples that I want to keep present in this conversation without noisily elucidating them all. But a few specific examples and reflections, in case they offer something, follow.

[--As is frequently the case, you can see that the a lot of my thinking is inspired by Sara Ahmed’s thinking – or at least that her excellent writing gives me the courage to take a leap of faith and explore out loud the way I perceive the structures that are holding things in place.--]


Reproducing structures
For some reason, and much against my instincts, I recently attended my twenty-year school reunion. It’s a private, all girls, Church of England school. We drank tea, and went on tours of the (almost all-new) buildings, had lunch in the refectory, and everyone commented on how no-one had changed at all over the years. And I don’t know why I was surprised by this, but I was struck by the performance of niceness that happened when we were reunited, and the way it felt utterly familiar, and that this was entirely linked to a performance of sameness. When I tried to express, for example, how much I had changed during the twenty years since I left school, this was met with a particular kind of non-response that entirely reminded me of the experience of being at school. People were unable to hear anything that differed from the model they were proposing. Under a veneer of niceness, of politeness perhaps, were hidden all the possibilities for difference and dissensus and queerness that make life, for me, bearable.

There is something important for me here about the ways in which we enact niceness, and reinforce structures where niceness is enacted. The place where I went to school feels far far removed from this life I have built for myself, as someone working in an experimental arts world. But I have seen this pattern of behaviour particularly when working in the arts world – a world that prides itself on the niceness of the people in it (we all do this because we love it! why else would we do it?) and yet people act in some of the least nice ways I can imagine towards each other and then never mention it again because “we are all nice people”.

Being too nice
On the other hand, I’ve often heard, and felt, the accusation that I am too nice or that my performance work is too nice to be taken seriously. It is the familiar opposition that is created between things that are ‘too nice and inclusive’ and things that are ‘rigorous and critical’, and it’s a problem I’ve articulated frequently. For me, those spaces that are both difficult and nice – by which I mean both genuinely inclusive in their invitation and able to hold open spaces that are not easily resolved and that do not aim to please all – are the most important, and perhaps the only important artistic spaces. But they have to be doing both those things: they have to be taking care as well as holding open.

I had a conversation recently with the wonderful artist Rosemary Lee about this – about how, if one is trying to make truly inclusive work, one will always be accused of being ‘too nice’ or maybe ‘not challenging enough’. And I realised that this very accusation, which sounds like the opposite of the enacting of niceness described above, is in fact exactly the same thing. The work is described as being too nice because it is inclusive. But this very accusation, of the work being 'too nice' is often levelled at an inclusivity that might mean voices or aesthetics are included that in fact are simply not conforming to the shapes or structures of the avant-garde; the structures of thinking, of language, of aesthetic, of life arc, that are valued within a certain artistic structure as ‘challenging’, ‘rigorous’, or ‘critical’.

Monday, 3 March 2014

Does it matter - an unfinished blog post

Funnily enough, I had just started composing this post when I read this blog post by Sara Ahmed on ‘Perception’ which feels closely related to some of the things I'd been thinking about. She begins:

“When you expose a problem you pose a problem.  I have been thinking more about the problem of how you become the problem because you notice a problem. When exposing a problem is to become a problem then the problem you expose is not revealed.”

It's something I've come up against before - the sense that, although I'm a fairly quiet person, and I definitely make a stand for quietness, I've always felt in danger of being labelled a trouble-maker. Particularly when it comes to pointing out the obvious. Particularly when it comes to issues such as diversity or access.I come to stand for the problem, rather than pointing towards it.

Ahmed's point is a good one (they generally are) and I love her encouragement to other Feminist Killjoys to "Stay maladjusted!" and not cave into this pressure to 'fit in' or become 'easier to digest'.

But in other words, if you are going to point something out that doesn’t fit with the dominant way of thinking, you’d better feel sure about what you’re saying…

And where this interests me is where it meets the notion of listening. Because listening allows for difference of opinion to be present. But it also allows me to shift in relation to what I’m hearing.

This is where I have a major stumble. Because this, what Ahmed points out, exposes a system where binaries rule, where politics is about sticking to your guns, and where in order to create change we need to stick to one argument and push it through until it sticks. Which is a definition of commitment, right? When we commit to something, we continue having faith in it, even when that thing disappoints us or we’re no longer sure about it.

But how does this relate to plurality, and to the notion that we’re always changing?