tactics

"Legitimate theater" engages a paying audience sitting inside a theater with the expectation that they will watch the performance of a play or musical. These productions employ conventions normally associated with traditional theater: lights up and down, applause at the end of acts, a proscenium stage, professional actors working with prepared scripts, no significant interaction between performers and spectators.

Less than 2 percent of the population in the United States attends legitimate theater performances.

While legitimate theater has lost much of its relevance to our everyday lives, theater (or performance) in the broad sense is a fundamental human experience. As such it represents a reservoir of immense potential that a mediated experience can rarely provide: the potential for human interaction. Film and video provide a stream of images to watch, but no experiences in which the viewer can actually participate. Everyday life is often a sequence of ordinary, that is expected, events. One's life experiences easily become insulated from important world events — and the possibility of learning from new experiences as well. Ordinariness becomes a form of oppression and a steady dumbing down of society is deleterious to culture and to democracy as well. Performance provides an immediate human experience. Theater — particularly its "illegitimate" varieties — can also punctuate the ordinary and thrust new and unexpected experiences into everyday life. It has the power to bring a person into new, temporary realities in which the self is momentarily forgotten and submerged. Theater can empower the spectator with insight and possibilities.

Baz Kershaw in his insightful study of the British Alternative Theatre Movement over four decades explicitly addresses the role of theater as an instrument of "cultural intervention." His book (1992) "is about the ways in which theater practitioners have tried to change not just the future action of their audiences, but also the structure of the audience's community and the nature of the audience's culture." This pattern affirms Kershaw's observation: New theater should accompany a new society.

Other phrases — such as Theater Without Theater, Anti-Theater, Meta-Theater, The World's a Stage, Social Performance, Guerilla Theater, or Oppositional (or Radical or Provocative) Theater — are variations on the title of this pattern. Each of these alternative formulations focuses on some attributes and not on others. We use the term "Illegitimate Theater" primarily to highlight the differences between it and legitimate theater. Illegitimate theater can describe any performances in which one or more conventions of the legitimate theater are circumvented. For example, the convention of a single, discrete performance can be ignored in illegitimate theater. Thus, a "one-two punch" can be delivered, possibly anonymously: Half of the cast can "perform" — in Starbucks, at the zoo, or, even, a traditional theatrical venue — while the other half of the cast can "accidentally" encounter the audience afterwards and engage with them a second time, perhaps in dialogue, perhaps again as spectators, perhaps as actor / participants in a new performance that builds on ideas of the original one. The French group Le Grand Magic Circus devised a performance which gradually added the spectators (while withdrawing their members) at the "end" of their performance until finally the spectators were the only ones left "performing" (Bennett, 1990).

Performance is an extremely broad term that characterizes an infinite number of situations including sports, rituals, education, carnivals, politics and protest. It can encompass everyday social events such as shopping, eating in restaurants, going to parties or hanging out. Performance can be spontaneous or planned, obviously "staged" or masquerading as "real life," artistic, political, cultural. The advent of “performance studies” as an academic discipline which transcends the traditional notion of the theater has contributed to our understanding of these myriad forms.

Bertolt Brecht, the most influential artist/advocate of theater for social change, rejected Aristotelian drama (the basis of Legitimate Theater) in favor of the Epic or Dialectical Theater. His theories and plays, such as Three Penny Opera" and Mother Courage, blur the line between real life and performance, reveal the mechanics of production, present actor and character simultaneously, and employ a wide range of techniques designed to rouse the audience to social action. The venerable San Francisco Mime Troupe with performances such as Fact Wino vs. Armagoddonman, Damaged Care, and Mr. Smith Goes to Obscuristan, is a more recent incarnation of Brechtian rebellion. Augusto Boal from Brazil, a Workers' Party (PT) activist, pioneered "Theater of the Oppressed" and other forms of participatory role-playing theater that has helped audiences to explore and recognize their own predicaments while fostering cooperation and critical engagement.

Many public protests, especially those that include role playing, dramatic encounters, or masks, puppets and other props can be viewed as a type of performance. When Greenpeace's sailing ship "Rainbow Warrior" confronts a nuclear submarine or whaling ship, two symbolic worlds collide. Crosses symbolizing those killed in Iraq spring up in Crawford, Texas near the ranch of U.S. President George Bush; Argentine mothers and grandmothers clothed in mourning black stand before the president's Casa Rosa in Buenos Aires. More recently social activists employing techniques of illegitimate theater, have emerged to confront corporate globalization. These include the marching bands and giant puppets in the 1999 protests against the World Trade Organization in Seattle, Reverend Billy from the Church of Not Shopping who orchestrates chain store "interventions" to "unlock the hypnotic power of transnational capital" and the "Yes Men" who have "played the roles" (as they satirically interpreted them) of various corporate and organizational officials to unsuspecting audiences around the world.

As Clifford Geertz would say — and Shakespeare before him — the world is truly a stage and everything we do in public is a type of performance. This of course means in a trivial sense that everyday life provides a venue for exhibition and self-promotion. The media exploits people's desire for "fame" (or publicity — the desire to be made publicly recognizable) and exhibits the ones it considers off-beat enough for public display, in the modern day equivalent of a freak show.

Media is more easily commodified when it assumes rigid forms. When a "package" exists, it's relatively easy — and cost-effective — to replicate it again and again with little effort or creativity. And when commercial broadcast media defines what is "legitimate", the imagination of the people decays, their capacity to create is harder to draw upon, their tolerance for experimentation and "amateurism" diminishes. Illegitimate

Theater, like other patterns in this language, has unsavory manifestations as well: burning a cross in the yard of an African-American or other ethnic minority, militaristic parades and rallies, public intimidates. Since "performance" likely predates language, its effects on people can be deep; it can unlock hate as well as love, anger as well as reason and compassion. Theater, whether legitimate or not, can be driven by emotion and therefore less analytic than many other patterns in this language. Illegitimate

Theater blurs or even negates the line between spectators and performers. In its extreme version everybody, all the time, is an actor. And "actors" in public performances can also be "actors" in social life, actors who help make things happen — for good or for ill. Although our life "in public" is a series of performances, our roles are often construed as "bit parts." But every moment is a "teachable moment;" every public appearance is an opportunity to do something new and to experience something new. Thus anybody, at least in theory, can practice the craft of illegitimate theater. The "performances" that come from this practice can be simple or elaborate, impromptu or painstakingly rehearsed. The point is to cause ripples in the everyday stream of life.

Illegitimate theater, like is predecessors "legitimate" or otherwise, can be used to provoke emotional reactions, discussion or reflection. Practiced successfully and in a great number of venues, illegitimate theater could help foster positive social change and increased democratization of culture.

As Jane Addams pointed out in founding Chicago's Hull-House, the first settlement house in the U.S. (Addams, 1912), and Dewey examined through the creation of the University of Chicago Laboratory Schools, democracy has been more realized in its political than its social expression. That is, even when formal procedures are established and maintained, meaningful participation is by no means guaranteed. For example, a public library might offer a large collection of books available at no charge to members of the community, but meaningful use of those materials depends also on available public transportation, broad-scale development of literacy skills, and a social organization that makes people feel welcome. In this and many other examples, it is clear that the problem goes beyond institutions, structures, and procedures, requiring instead the means by which every member of the community comes into the process of authority.

Community inquiry provides a theoretical and action framework for people to come together to develop shared capacity and work on common problems in an experimental and critical manner. The word community signals support for collaborative activity and for creating knowledge that is connected to people's values, history, and lived experiences. Inquiry points to support for open-ended, democratic, participatory engagement.

Consider the case of East St. Louis. Its widely noted dissolution and destruction (Kozol, 1991) resulted from many factors, both internal and external. The integration of housing in neighboring cities had the perverse effect of East St. Louis losing most of its middle class and professional workers. Racism, both within and towards the city, was a key factor that led to its failure to get the resources it needed to maintain a vibrant community. Problems compounded as elements within the city began to pull in different directions, often serving their own ends at the expense of the larger community. For example, companies dumped hazardous waste and landlords allowed buildings to become dilapidated and dangerous. From a community inquiry perspective, East St. Louis exhibited a failure for democratic, participatory engagement and demonstrated little evidence of people within the city or larger entities—state and national—coming together with shared values and goals.

At the same time, East St. Louis has survived and in some aspects has developed the capacity to thrive. Community members have come together to address the severe problems they faced. Substantial assets, such as the talent and dedication of Katherine Dunham, have taken enduring form in her museums and international dance workshops for children (http://www.eslarp.uiuc.edu/kdunham/). The community collaborates with other organizations, such the University of Illinois; their joint East St. Louis Action Research Project (http://www.eslarp.uiuc.edu) has helped improve conditions in the city by setting up, for example, community technology centers, new housing, a light rail station, and a youth-driven community theater. At the same time, ESLARP has provided new opportunities for university students, staff, and faculty who have worked in the community.

A key element of the work in East St. Louis is that it reflects continuing inquiry by people who are invested in the community in a variety of ways. That is, successes to date have not come from outsiders dictating and delivering solutions, but by bringing together participants from diverse perspectives to work together. Moreover, this work, while it addresses very practical problems of jobs, environment, health, education, cultural preservation and enrichment, and so forth, does not stop there. Instead, local action becomes a means through which the residents and those outside learn more about the community and its possibilities. In that sense, inquiry is both action and understanding. The lesson from East St. Louis, and similar communities, is that the process of community inquiry is ultimately of greater importance than the solving a specific problem.

We see many additional examples around the world of the power of community inquiry. In the domain of community development and learning, for example, a National Science Foundation study carried out in rural villages around Bangladesh related the finding that material from well-worn saris supplied a filtering material that worked better in reducing cholera than the nylon mesh that microbiologists had developed (Recer, 2003). In Reggio Emilia, Italy, with few of the resources found in affluent and advanced communities, families and teachers developed an innovative approach to education, now heralded throughout the world, that recognizes the potential of all children to learn and grow “in relation with others, through the hundred languages of doing, being, reflecting, and knowing” (http://www.reggioalliance.org). Community inquiry can also be manifested in the development of information and communication technology. See, for example, the culturally situated design tools developed collaboratively between Renssalear Polytechnic Institute and its community partners (http://www.rpi.edu/~eglash/csdt.html) and the Community Inquiry Laboratory software created collectively by the University of Illinois and its partners around the world, who come from all walks of life (http://ilabs.inquiry.uiuc.edu).

The concept of Soap Operas for Social Change, developed by Mexican television producer Miguel Sabido, deftly weaves health and other socially responsible information into “traditional” soap operas to raise consciousness without compromising the compelling everyday drama that the genre exemplifies. Although this type of soap opera (called Telenovelas in Latin America) is not in the majority, there are examples of its use throughout Latin America, Asia, and Africa.

In 1967, the Peruvian telenovela “Simplemente Maria” that chronicles twenty years in the life of a maid working through the travails of the day as a single mother preparing for a career as a fashion designer was launched. It was this show apparently that opened up the possibility of social messages intertwined with popular culture. According to Hanna Rosin whose New Yorker article, “Life Lessons” helped inform this pattern, “Peru’s working-class women identified deeply with Maria; they saw her story less as a Cinderella fantasy then as a future that was possible for them, too. Thousands of maids wrote to the station to say that they were going back to school.”

The hero or heroine of a "Sabido soap" is a “transitional” character in the drama, a "fallible character who struggles to behave decently" (Rosin, 2006). In fact, the most important aspect of the telenovela is the barrage of giros (twists of fate), trials and tribulations, that continually tests the protagonist’s perseverance. In China, the program “Bai Xing,” or “Ordinary People” in English, features Luye, an unmarried rural Chinese girl who has a baby and moves to the city. This perfectly “ordinary” story is filled with the the real-life drama that people routinely face but is rarely portrayed. In recent episodes Luye discovers that two of her acquaintances have AIDS, a subject that is generally not found on Chinese television.

The non-governmental organizations Population Communications International and Population Media Center has been involved in socially responsible soap operas for many years. The focus is on usually related to population issues although this frequently involves health, sustainable development and environmental issues as well. Both are involved in the development of television and radio shows as well as work in other media, media leadership issues, and communication strategy and theory as well. The PMC web site explains that, "The advantage of using long-running, entertainment serial dramas include their huge audience appeal and the emotional bonds that are formed between the audience members and characters, which can lead to strongly positive influences of the characters on attitudes and behaviors by audience members." Sabido has developed a methodology that was informed by the integration of several key communication theories.

Ideally the social messages in the soap operas and telenovelas are presented in the form of choices that can be consciously made – not injunctions or instructions which must be obeyed. The best of these soap operas are probably more like this although the protagonist ultimately will make a choice and that choice is likely to be the one favored by the producers of the program. For many reasons, everybody who is involved in formulating a response to a given situation would be party to the dilemma played out on the television screen and weigh all the relevant factors individually and collectively. In Nepal, for example, the mother-in-law and husband are key players in decisions involving childbirth and must therefore be part of any approach to offer new choices for life decisions. Because soap operas in developing countries are shown in prime time (rather than during the day as, for example, in the U.S.) and are, therefore, seen by people across the spectrum of the population and because a high percentage of the viewers, are illiterate or are otherwise unable to gain access to relevant information, Socially Responsible Soap Operas make ideal vehicles for the propagation of useful information on such topics as family planning, domestic violence, nutrition, home management and emergency preparedness.

Socially Responsible Soap Operas are clearly subject to challenges from many sources. In Burma, for example, the radio show “Thaby e gone Ywa” (Eugenia Tree Village) was broadcast illegally over shortwave radio because Burma’s military dictatorship declared the program illegal. In the examples discussed above the creators of the programs are aware of the dangers of using the media for propaganda. As William Ryerson, president of PMC, explains, "Unlike brainwashing, PMC’s approach is to show a range of options—to broaden rather than to narrow the perspective of the viewing audience with regard to the choices available to them. For each of the options, the programs show realistic consequences."

On the other hand, the desire to fiddle with the content of popular shows could prove irresistible to overzealous governments that were intent in spreading their messages. Put in this context the practice of inserting message into soaps seems positively Orwellian. Yet commercial message are increasingly commonplace and “product placements” in Hollywood films, television shows, and, even books, while the society at least seems unfazed. Recently in the U.S. a spot in a book for teenager girls was sold to the highest bidder, a glossy lips makeup manufacturer. Also, of course, subtle and not-so-subtle messages thoroughly permeate much of the mass media, some of which is explicitly designed (for “mass appeal,” government appeasement, or as an expression of personal ideology) while others are unconsciously added to the mix, the atmosphere of commercialization is seemingly too ubiquitous to be resisted.

Although many of the people who are likely to get involved in this pattern are policy-makers or media producers, other people can help promote this idea by entering into a dialogue with people who are better positioned to make changes. Although strong challenges exist, this pattern has rich potential as a tool for positive social change.

Thinking, resulting in new knowledge, is an essential human activity. Most related community research has focused on knowledge management and knowledge construction communities, often in an organizational or educational setting. For example, a typical corporate knowledge management community acts as a custodian for a Knowledge Domain, nurturing the sharing and creation of practices and knowledge that is key to the achievement of both company and personal objectives (Von Krogh et al., 2001). Similarly, an educational knowledge building community is a group of learners committed to advancing the group's knowledge of some shared problem through collaboration knowledge (Chai and Khine, 2006). However, when shifting from such an institutional to a more individual-oriented type of knowledge community, not much is known. In such a community, not organizational goals but individual thinking requirements, preferences, strengths, and weaknesses predominate. The resulting communities have much more of an emergent nature, and can be realized in a wide variety of forms. Thinking Communities, even more so than other communities, cannot be fully designed in every detail. Instead, developers should provide the right conditions and just enough guidance for such communities to get started, then let them evolve (Preece, 2000). A Thinking Community pattern can help outline such conditions and guidelines, while leaving each community enough freedom to develop its own unique values, norms, structures, and processes.

Thinking Communities require the right physical locations for individuals to reflect deeply by themselves, while also being able to interact on their thoughts with peers. They need an electronic communications infrastructure to organize and coordinate their community and communicate between locations. Social, professional, and financial constraints need to be minimized.

With location, communication, and personal constraints satisfied, Thinking Communities should start to be established and grow. A great variety of communities, ranging from loosely connected, semi-solitary individuals to large groups intensely focusing on solving a joint problem, will develop. Thinking Communities could thus become catalysts of creative thinking processes urgently needed to deal with some of the many pressing problems facing our globalizing world.

Examples

Thinking Communities can manifest themselves in numerous forms. Each of the dimensions identified in the pattern can have many possible values. The pattern acts as an analytical lens to help identify successful combinations of values, and possibly new types of Thinking Communities. To give some idea of the breadth and depth of Thinking Communities, here are some of many possible examples:

- A researcher is totally overworked, overwhelmed by the continuous stress of teaching, the publication rat race, and projects. She decides to recharge by taking a two month sabbatical after a conference she attended on the other side of the world. Since semester is over, she can plan it in between two academic years. She looks up the country she is visiting in the ReCharge researchers community web site, and discovers a scenic location close to the conference site, in the middle of a National Park. They offer long-term accommodation, for low monthly rent rates. They also have Internet connections, provide meals, and have a common room where she can meet fellow researchers. After two months of deep thinking and discussions with colleagues who provide fresh angles on her research, since they are not in her field, she goes back home. She is full of fundamental, new ideas that will sustain her in the stressful years to come.

- Many people are inspired by the ways of living and thinking of indigenous peoples. However, it is often hard to establish relationships with such communities. A First Nation, however, hosts a simple hostel with a limited number of rooms on its domain, allowing thinkers to work on their projects, while inviting them for a selected set of meetings and activities with the local community. This offers visitors a low-intensity, non-intrusive opportunity to get a realistic sense of the values, problems, and strengths of these communities, much beyond the understanding provided by the usual, shallow touristic visit to a reservation arts center. Simultaneously, it offers these local communities an alternative source of income and access to a world of ideas and contacts provided by visitors sincerely interested in building bridges between cultures.

- Two countries go to war. Enlightened individuals from both sides want to discuss their differences in order to stop the madness, but discussions on an open electronic forum dedicated to the conflict inevitably derail into emotional rants and diatribes. Meetings in either country obviously do not work for political and security reasons. Forum members from another country, which has managed to successfully negotiate a peace agreement between its feuding factions in the recent past, invite a number of the most reasonable discussants to come to a resort in their country. A private foundation, sponsoring the discussion forum, pays most of the travel expenses. In the resort, the discussants gather in a number of group sessions, but also get ample opportunity to break out, go for walks, and have one-on-one discussions. Their meetings are structured by electronic meeting room software. Although in the short time frame available they cannot reach agreement on a “Roadmap to Peace”, they do agree on the most important issues to be worked out. In a closed electronic forum, supported by the same software, they continue their discussions upon return to their respective countries. The bonding and face to face meetings in a peaceful environment have created the conditions to start building a Thinking Community across political borders.

Humankind has generated a magnificent pantheon of fictional and not-so-fictional characters over the millennia of its existence. Unbelievably enough, this rich legacy may be stopped cold through a transfer of the ownership of humankind's stories and images to corporate rather than shared "commons" ownership. Civil society should establish a repository of characters who are available to all without charge. This could contain characters from our pre-corporate past as well as those of more recent vintage (such as Cat-Man (http://en.wikipedia.org/wiki/Cat-Man_and_Kitten) who was raised in Burma by a Tigress but abandoned on our doorstep by the corporation that spawned him. Ultimately it could even include those are now serving time, cloistered behind commercial contracts until their sentences expire. Novelists could legally allow the inhabitants of the universes they created to be enlisted in others: Cartoonists such as Matt Groening could donate Homer Simpson or a brand new type of American everyman complete with voices and descriptions of where he lived and what he liked to do. Frustrated novelists could supply names and descriptions that their colleagues could borrow for their own work. However, it is not only artists and writers who benefit from having access to stories and the characters who inhabit them. Characters can serve as sources of inspiration for all; they can give us hope in dire times; they can serve as models for ethical, effective, or clever behavior. One use of characters is to serve as a kind of "Board of Directors" that we can use imaginatively to help look at our problems and proposed solutions from various perspectives. (See http://www.research.ibm.com/knowsoc/ The Disney corporation may be the most prolific "borrower" of stories (including Aladdin, Atlantis, Beauty and the Beast, Cinderella, Davy Crockett, Legend of Sleepy Hollow, Hercules, Hunchback of Notre Dame, Jungle Book, Oliver Twist, Pinocchio, Pocahontas, Robin Hood, Snow White, Sleeping Beauty, Three Musketeers, Treasure Island, and the Wind in the Willows) from the public domain; the number of stories they have added to the humankind's commonwealth is still at zero. (Thanks in part to legislation that granted Mickey Mouse another 75 years of service to the corporation.)( State of the Commons - Culture)

Artists occupy a unique role in society. Through a diversity of approaches, they explore new terrains that words alone are incapable of describing. Art can address issues, help solve problems and even serve as a "public psychiatrist" that surfaces social anxieties. Art speaks to places that other languages can't and affects consciousness on a level that we don't understand and can't map. Some, but not all, artists work for social and environmental justice. Notably artists can explore ideas of personal or societal importance or they can operate within a world circumscribed by religious authorities, corporations or the art-buying public, a decidedly privileged class economically.

The "world" that "resistance" strives to understand and confront provides an exhaustible fount of inspiration for artists – professionals and non-professionals alike. The media through which messages and stories can be conveyed includes T-shirts (indeed, wearing the wrong t-shirt is an invitation to harassment, fines, and imprisonment in my regions and countries around the world) and comics and zines, opera, ballet, graffiti, murals, sculpture, film, film or many other approaches. Art can be immersive and engaging; it can help build community and involve the "audience" in rituals or processions. Art can be an invidual or collective effort, big or small, public or anonymous, clandestine and furtive, In can be created by children or by people or emotionally disturbed. The art of homeless people, refugees, or incarcerated people is likely to present a view of the world that the rest of us may not see.

Resistance art brings hidden knowledge out of the shadows. The historic roots of contemporary experience, a common theme of Chicano murals, such as those created by Los Cybrids collective, in Los Angeles and other southwestern cities in the US explore themes of identity and hybridity. Another approach is to present the reality of a situation in a documentary style, such as Walker Evans' sparse, unadorned depression era photographs of the rural poor. Another approach is exemplified by George Grosz's grotesque and piercing caricatures of militarists and war-profiteers, or Hitler garbed in a bearskin.

In the 1980s, Artists of the World Against Apartheid based in France issued a broad appeal to artists around the world to contribute anti-apartheid works of art. Ernest Pignon-Ernest of France and Antonio Saura of Spain worked unselfishly for two years to make it happen. A major exhibition was mounted in late 1983 at the Fondation Nationale des Arts Graphiques et Plastiques in Paris. Since the organizers had stipulated in advance that the art would be held in trust and given to the people of South Africa on the occasion of "the first free and democratic government by universal suffrage" as the basis of an anti-apartheid museum, the collection was moved to South Africa at the request of president Nelson Mandela.

A similar event took place in the U.S. two decades later. With the invasion of Iraq looming, first lady Laura Bush, picked an inopportune time to invite poet Sam Hamill to a special White House event, "Poetry and the American Voice," which was to celebrate the works of Emily Dickinson, Walt Whitman and Langston Hughes. Instead of being seduced by to the allure of power and prestige, Hamill refused Bush's invitation. Instead he emailed several friends asking them for poems on the theme of war which would be bound and presented to Bush. This ignited a poetic firestorm that claimed no national border. Inspired by Hamill's defiance, a web site (http://www.poetsagainstthewar.org) was established that provided a platform for poets around the world to express their feelings related to the impending war. The site proved immediately and enormously popular – at its peak it was averaging several new poems a minute. Now the site has over 20,000 poems online – including works by Adrienne Rich, W.S. Merwin. and Lawrence Ferlinghetti, and spotlights several poems per week. The project ultimately published two volumes of poetry and an excellent documentary film, "Poets in Wartime," was inspired by the effort. Moreover, the work engendered a non-profit organization, "Poets Against War", was formed with the simple yet direct mission statement: "Poets Against War continues the tradition of socially engaged poetry by creating venues for poetry as a voice against war, tyranny and oppression."

This episode (Poets Against War) raises the general question of the role of occupational groups and whether there is an implicit or explicit obligation to help deter aggression and war. A short list of such candidates would include teachers, religious leaders, engineers, journalists, farmers, and doctors and nurses and other caregivers. A longer list would include almost everybody – for very few people in the world actually want to be within war's lethal compass, as either participant or as innocent bystander.

Another fascinating example, is the beehive design collective, an amazing anarchic and itinerant design collective that, although home-based in Vermont, travels around the world to create region-specific murals. Members often work with indigenous or other people to develop murals that capture the unique circumstances of the people who live there. The murals they develop grow organically; containing a variety of elements sinuously weaving indigenous plans and animals, historic referents, and symbols of corporate and colonial domination, with images of fanciful and realistic resistance.

Resistance art has many audiences. In the anti-apartheid movement, for example, the audience would obviously include the victims of apartheid and the supporters of their struggle. It would also include the people who believe themselves neutral of hadn't thought about apartheid from a moral standpoint and people who were actively promulgating it: politicians, policemen, the media, and business spokespeople who benefited from the cheap labor provided by the marginalized victims. Beyond that, the audience extended to the rest of the world. Many people outside of South Africa worked on anti-apartheid campaigns. Gill Scott-Heron's anti-apartheid anthem, "Johannesburg," was played on the radio in US cities, where its uncomfortable references to big segregated cities in the US like New York and Philadelphia showed that South Africa was not the only country in the world where prejudice and racism flourished.

From Goya and Picasso to Johannesburg's T-shirt artists of and anonymous graffiti artists around the world, resistance artists, generally acting on their own – have portrayed the horrors of war or other abominations. Activists in Seattle, hoping to help cultivate a supportive community network for resistance artists have convened an Arts of Resistance conference for the past two years. Through workshops, presentations, videos, and, most importantly, through face-to-face dialogue and debate, the idea that art can be socially transformative became more widely recognized and more thoughtfully practiced.

People ultimately also need to be reminded of two things – that they are not impotent and disconnected spectators but active and engaged participants in the ongoing vibrant fabric of life. Art, therefore, can tell the story of the ongoing struggle while suggesting ways for people to take part. It can also sketch out, in possibly indistinct and uncertain terms, a future that may exist, after successful struggles, where children, and their children, and their children's children do not experience the daily injury of living in an unjust and unhealthy world.

Anglican Bishop Desmond Tutu, a longtime foe of apartheid, notes that when resistance art is successful, "People come to the forceful realization that they are not entirely the impotent playthings of powerful forces." According to Tutu, resistance art, whether it's a play, song or T-shirt represents, "a proud defiance of the hostile forces that would demean and dehumanize."

"More recently, in later modernity the theme of the everyday has been considerably more prominent. But this does not mean that questions about who is representing for whom and why and how have been resolved. Issues about legitimacy of representation remain crucial, and indeed I shall argue that how to articulate and represent the everyday is the main issue in the politics of culture." - David Chaney (2002)

Non-whites, convicts, the poor, sick, starving people, flood victims, uneducated, aged, rural as well as intellectuals, dissidents, gender, ethnic and other marginalized groups are often the victim of mis-representation. Their presentations are often paper-thin, stereotypical at best. (While mention of other people are simply omitted; they don't exist.) The net result is a compelling, free-floating image of "normalcy" that serves as a model to be emulated.

This pattern represents a concept that gets very little notice. After all, there is really no way to fully control your representation or what people do with it. Ultimately it’s an expression of power: Who is creating the representations, under what conditions, and how can they be maintained, changed, or challenged? When somebody else is determining how you will be represented you have been robbed of your right to defend yourself, to make your own case for who you are. On some level, it's a type of identity theft. Who you are has been determined elsewhere and stamped on you.

Why bother with representations? Is there really anything to worry about? Are there any negative implications? Yes. For one thing, there seems to be substantial evidence that people start believeing their own representations — and act according to them. Representations, unfortunately, can have exceedingly long life spans since culture tends to replicate itself. Also people individually see little reason to change the way they view the world unless there is a compelling reason to rethink themselves.

This pattern on the one hand depicts the need for people everywhere to grab hold of their own representation and challenge the mechanisms (generally of media production) that perpetuates the stereotypes. At this level of analysis the pattern recommends a more accurate and bi-directional approach to "representation" — often of entire countries, ethnic and other marginalized populations. At a deeper level this pattern seeks to remedy a problem much more insidious -- that of a steady colonization from "within."

The importance of this pattern is obvious. It's why people may be suspicious when others are talking about them. It's why big corporations and political parties spend enormous sums on public relations and "spinning" news and other information to their advantage. Corporations and government agencies have elaborate and professional strategies for ensuring that their public portrait is painted according to their specifications. Movies stars, writers, etc. have their own publicists whose job it is to bring (or push) certain information to certain people. On the other hand, powerful people and institutions also go to great lengths to keep some information submerged and hidden forever.

There are several tools for addressing these problems. People in the group who may be perpetrating the stereotypes — white males (like me) for example — have the responsibility to acknowledge these transgressions and strive to overcome them. Media literacy and media critique are two skills worth developing and media monitoring is a worthwhile way to develop a fact base that can be used to confront the mis-representers. Much of this work should be done at a community level: the analyses should be shared, for example, with the community because it's often the community that is being mis-represented. Also, as was alluded to earlier, it may even be possible that members of the mis-represented community may be unconsciously living down to the stereotypes of their community.

Media is essentially a one-way street, a mute, wall-to-wall hallucinatory enclosure. (Although people do interpret according to their own rules that the media doesn't necessarily control.) The "message" of this medium is rarely acknowledged — it is truly the fabled 800-pound gorilla. Like a voice in your head, its message is compelling and persistent. It won't go away! It sows indecision while removing individual autonomy and opportunities for authentic social learning. Yet media producers aren't necessarily evil. Often laziness, lack of imagination (cloning the popular movie), and financial decisions factor in.

In collecting the various case studies for our anthology (Eglash et al 2004), it became apparent that some examples made a stronger case for appropriation than others. Using that distinction, we developed the following three categories. You can think of these as being positioned along a spectrum from consumption to production (see figure above).

The weakest case, "reinterpretation," is defined by a change in semantic association with little or no change in use or structure. That is, the lay person has changed only the meaning of the artifact, not its physical make up. Graffiti tags are a good illustration: the physical and functional aspects of a building are essentially unchanged, but the semantic claim to ownership, as a form of either cultural resistance or criminal turf war,is not trivial. The next stronger case, "adaptation," is defined by a change in both semantic association and use. For example, the Bedouin society of Egypt, a relatively disempowered ethnic minority, found that cassette tape players, which were marketed for listening to music from the Egyptian majority, had an unused recording capability as well. They began to record their own songs, and this eventually led to the rise of a Bedouin pop star and the creation of new economic and cultural opportunities (Abu-Lughod 1989). Adaptation requires two technosocial features. First, an attribute of the technology-user relationship that Hess (1995) refers to as “flexibility.” For example, a calculator is less flexible than a word processor, which is less flexible than a personal computer. Second, it requires a violation of intended purpose. It is a mistake to reduce this to the intentions of designers; we also need to consider marketing intentions and “common-sense” or popular assumptions. In the case of Bedouin cassette players we have a pre-existing flexibility for recording that was intended by the designers, but this was obscured by the marketing focus on play-back only. Adaptation can be described as the discovery of a “latent” function, but that definition needs to be problemitized in the same ways that philosophers have debated whether mathematics is invention or discovery. The creativity required to look beyond the assumed functions of the technology and see new possibilities is a powerful force for social change, yet one that receives insufficient theoretical attention.

The strongest case for appropriated technology is "reinvention," in which semantics, use and structure are all changed. That is, if adaptation can be said to require the discovery of a latent function, reinvention can be defined as the creation of new functions through structural change. Low-rider cars (see figure below) provide a clear demonstration of this combination. Although automobile shock absorbers were originally produced for decreasing disturbance, Latino mechanics developed methods for attaching them to electrically controlled air pumps, turning shock absorbers into shock producers (the cars can move vertically as well as horizontally). Low-rider cars violate both marketing and design intentions, but the new functionality was introduced by altering the original structure, rather than discovering functions lying dormant in the original artifact.

Having studied appropriated technologies, what should we do with them?

First, it is important to understand that in distinguishing strong versus weak cases for appropriated technology, we make no evaluation of ideology or effectiveness. One might, for instance, find more political success with reinterpretation than reinvention in a given case. It is, rather, more a question of how much involment the lay public can have in production versus consumption.

Second, appropriated technologies do not have an *inherent* ethical advantage. Not all forms of resistance are necessarily beneficial in the long run. Aihwa Ong, for example, notes that Malaysian women using spirit possession as resistance to exploitation may be releasing frustrations that could have gone into collective labor organizing. And as we noted, white supremacist groups might well be described as marginalized people who appropriate the internet and other technologies. While free speech must be preserved at all costs, appropriation is not making a better society in the case of neo-nazi web sites.

Third, Insofar as science and technology appropriations do have potential contributions to stronger democracy (cf. Schuler 1996), we need to understand how these positive attributes can succeed. First, there are obstacles to appropriation on the design side; most obviously those created by totalitarian governments, but corporations can also dampen or discourage appropriation. The flexibility required to allow user adaptation, for example, is increasingly threatened in contemporary information technology marketing strategies. Encouraging designers to incorporate appropriation as a positive virtue means reversing this trend towards inflexibility. Second, there are obstacles to appropriation on the lay public side. We need to not only overcome the ideology barrier, but also the barriers of education and access to physical resources.

The challenges to participating in responsible tourism are many. A westerner's perception of travel and vacationing are already formed to expect a certain kind of product. Swimming pools, air-conditioning, lavish meals, subservient staff, "staged" traditional activities and the like leave little room for discovering the many wonders of foreign cultures or experiencing the complexities of a different lifestyle. Foreign governments share in the global race to classify tourism as a national export, paving the way for multinational corporations to build a tourist infrastructure at the expense of whatever may be in its way.

Tourism Concern, an NGO based in the United Kingdom is a primary source of information about the social, environmental, and economic impacts of tourism at the same time that it advocates and provides information about alternatives. According to Tourism Concern's Web site, some of the main negative effects of tourism include displacement of people (particularly native peoples living on their traditional lands), environmental damage from uncontrolled development, and water abuse. In examining water abuse it's easy to find that "the presence of tourists naturally means a much higher demand for water. Local communities normally do not benefit, and in most cases, are not allowed access to infrastructure built to ensure safe drinking water. The development of golf courses and hotel swimming pools are responsible for depleting and contaminating water sources for surrounding communities; this is especially true in Southeast Asia and the Middle East. An average 18-hole golf course soaks up at least 525,000 gallons of water a day - enough to supply the irrigation needs of 100 Malaysian farmers."

Equations, an East Indian NGO promoting responsible tourism, documents several tourism projects that are moving ahead without local support. The mega Bekal Tourism Project plans to convert Bekal, a northern rural coastal fishing district, into Asia's largest beach tourism resort of 6500 units by 2011. As a consequence, four entire fishing communities would be destroyed, communities that are among the most sustainable in all of India. In addition, unique cultural practices are at risk: "The indigenous fishing community of Kasaragod is the last remaining community along the Keralam coast with traditional fishing techniques. They abhor over-fishing and adhere to sustainable harvesting practices. The community still practices the traditional 'sea courts' where the community heads assemble at the place of worship every day to hear and decide on issues within the community."

The Bekal project illustrates more. The government of Keralam has already begun acquiring land as cheaply as possible under "public purpose" and intends to sell the land to private and multi-national tourist organizations for this same price. To date, there is no Environmental Impact Assessment despite the fact that as planned it would violate national Coastal Regulation Zone rules. Local community members are being denied due process through hearings that are a sham.

Fortunately, there are organizations that are becoming involved in the process of re-vitalizing community efforts to direct tourism. An extensive list of responsible travel organizations can be found on Tourism Concern's Web site, (http://www.tourismconcern.org.uk/). Reference books also published by Tourism Concern include "Good Alternative Travel Guide: Exciting Holidays for Responsible Travelers" by Mark Mann, and the new, "Ethical Travel Guide" by Polly Pattullo, lists ethical and sustainable tourism in over 60 countries.

Global Exchanges is a model organization in creating opportunities for Engaged Tourism. Their Reality Tours operate give people "the chance to learn about unfamiliar cultures, meet with people from various walks of life, and establish meaningful relationships with people from other countries."

Stepping away from the interventionist model of development, self-designed or autonomous development emphasizes at its core development designed and implemented by the people it is intended to affect. While on one hand this pattern presents an orientation towards the practice and approach of development at one level, at another it is meant to be translated into the direct actions of peoples pursuing the right to define the trajectories of their lives, the lives of their families and their overall communities. It tries to avoid the assumption that all peoples want to be developed, rather it does assume that peoples wish to enjoy a certain type of life defined on their own terms and the hope is that they have the opportunity to realize that desire in their life-time.

The words self-designed or autonomous are meant to address the fundamental notions of power, who has it, who uses, and how it’s used and to what end. As a pattern that values autonomy, but also a notion of development towards greater well-being traditional as well as modern knowledge must be acknowledged, understanding that they do not always have to be perpetually competing forces, but when approached carefully they can be utilized to promote viable path towards community transformation that honors the social, cultural and political realities a community exists within. Thus, the overall basis of the self-designed development places both the responsibility and power of change into the hands of those who have been historically disempowered through the processes of traditional ‘developmentalism’.

At the level of orientating this process, its necessary to re-frame development and stress a redefinition of the roles between peoples in communities seeking transformation and the various outside agents who are working for authentic social and economic change. Here we would emphasize facilitation over the management and design on the part of the part of the so-called professional, and community independence and autonomy over dependence.

Take for example, the Participatory Rural Appraisal (PRA) (See: Action Research) so often thought of as the mainstay of the development practitioner seeking to design projects, becomes instead an awareness tool for community members themselves to guide their own decision making process on what steps are to be taken to better their livelihoods, and offer clear paths to achieving that. In fact this tool can be used by a community without the need for complex levels of understanding into social research and can be used in a relatively low-tech way within a variety of settings. Therefore, the role of the outside agent can be to act as observer and identify ways in which they can help a community realize their mutually defined goals.

At the level of implementation the pattern can guide specific actions to be taken up by communities to include any number of projects defined by a community. For example, projects can be anything from a system of check dams used to provide electricity to power a rural village; another project could be the construction of a primary school or health center for women. They can include the creation of farming cooperatives to ensure the community not only achieves the ability to provide sustenance, but can then also generate income by selling their products outside their geographical community.

Undoubtedly the use of this pattern at this level will be context specific and must be shaped by the various needs and desires, and including the capacities and capabilities of peoples seeking to pursue this pattern of development. This recognizes that not all communities possess the same needs or desires, nor do the posses the same levels of capacity or capabilities. Therefore in one community where the level of civic capacity is high, as well as a great deal of cohesion and participation among community members, then a more autonomous approach to development is going to be more easily realized.

Yet, to a community that lack a certain level of capacity and cohesion it may be necessary for the community to seek the assistance of an outside agent to facilitate in the process. This could include consciousness raising, financial support, transfer of knowledge and so forth, but fundamentally any such assistance must be a result of the wishes of the community and brought forth based upon the terms and desires of those these plans are meant to assist.

There may however, be situations in which such a pattern may not be at all viable, or only very minimally. This is particularly true in situations of displacement, through war, famine or other outside forces that breaks a necessary level of cohesion due to fissure in the very nature of their communal ties, and thereby fragmenting the people’s capacity to coordinate and act collectively. In these situations, the pattern may still be utilized but it will be much more of a goal to be actualized by development agents who are seeking to ameliorate the problems associated with fragmented communities. The pattern thus becomes a guiding force for the interventionist, and care must be taken not to cross the boundary of creating development dependence among peoples.

In these situations it can also be potentially problematic as it can be difficult for agencies to relinquish control over development initiatives as community reconstitute themselves and gain a level of independence and cohesion that would allow for them to participate in a process of autonomous development. And since its difficult to say when the work of an NGO is done in area there remains this tendency maintain a role of interventionism long after a community has acquired the capacity to define their own goals. It therefore begins to become the kind of development the outsiders envision and not that of the community.

Thus, this pattern not only becomes an orientation to community driven development but an orientation and guide by which NGOs themselves can pursue a process to empower communities by emphasizing any number of projects designed to empower peoples to regain control over their lives in the wake of a rapidly modernizing world.