Dramaturgy and Social Movements: The Social Construction and Communication of Power

Enford, Robert D.; Hunt, Scott A.

doi:10.1007/978-1-349-23747-0_6

Cited by 60 publications

(99 citation statements)

References 29 publications

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“…Antagonists – individuals and groups identified as the movement's opponents or ‘enemies’ – are designated as the responsible agents for the problem or issue the movement seeks to overcome or as obstructionists standing in the way of the changes the movement seeks. Movement activists and leaders often vilify their opponents referring to them by caustic labels such as ‘baby killers’, ‘fascists’, ‘capitalist pigs’, ‘gun grabbers’, and the like (Benford and Hunt ). Such vilifying framing of the collective character of an antagonist/opponent functions to demarcate boundaries between ‘us’ and ‘them’, good and evil, and right and wrong.…”

Section: Collective Identitymentioning

confidence: 99%

Going All the Way: Politicizing, Polarizing, and Radicalizing Identity Offline and Online

Stekelenburg¹

2014

Sociology Compass

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This essay conceptualizes radicalization as a collective process that evolves within the context of global, national, or local intergroup tensions. People do not radicalize on their own, but as part of a group in which a collective identity is developed. Some members of the group may take a radical activist route to promote or prevent social change. Their interactions with their opponents intensify, while their ideas and beliefs sharpen. In this essay, I propose an interpretative framework to analyze radicalizing collective identities. The framework departs from the notion that supranational processes shape and mold the micro level of (radicalizing) citizens' demands, the meso level of social movements and political parties, and the macro level of national political systems. The answer to questions such as who radicalizes, why people radicalize, and the forms radical action takes lies in the interaction of supranational processes, national political processes, and the context of political mobilization. It is argued that radicalizing identities are key in this process, no radicalization without identification!

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Section: Collective Identitymentioning

confidence: 99%

Going All the Way: Politicizing, Polarizing, and Radicalizing Identity Offline and Online

Stekelenburg¹

2014

Sociology Compass

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“…Bell 1992; and Collins 2004). Rituals have been analyzed as symbolic performances that express conflict (Goffman 1959, 1967; Garfinkel 1967), symbolize resistance and rebellion (Schechner 1993), frame grievances and communicate power (Benford and Hunt 1992), and create the “emotion culture” (Gordon 1989) and boundaries of groups (Taylor and Whittier 1992). Many social movement cultures organize ritualistic occasions around music.…”

Section: Music Scenes and Movement Culturementioning

confidence: 99%

Understanding Music in Movements: The White Power Music Scene

Futrell

Simi

Gottschalk

2006

The Sociological Quarterly

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Relying on the analysis of ethnographic and documentary data, this article explains how U.S. White Power Movement (WPM) activists use music to produce collective occasions and experiences that we conceptualize as the movement's music scene. We use the concept "music scene" to refer to the full range of movement occasions in which music is the organizing principle. Members experience these not as discrete events, but as interconnected sets of situations that form a relatively coherent movement music scene. We emphasize three analytically distinct dimensions of this scene-local, translocal, and virtual-and specify how each contributes to emotionally loaded experiences that nurture collective identity. Participants claim that strong feelings of dignity, pride, pleasure, love, kinship, and fellowship are supported through involvement in the WPM music scene. These emotions play a central role in vitalizing and sustaining member commitments to movement ideals.

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“…Using the metaphor of “life as theater” (Rigney ), interactionists have analyzed the active effort people put into embodying social roles and managing audiences' impressions. Dramaturgical theory and research have helped us understand social movements (Benford and Hunt ), embodiment (Waskul and Vannini ), and sexuality (Grazian ), to name merely a few areas of interest to sociologists.…”

Section: Performance and Food As Performancementioning

confidence: 99%

“Gimme a Pigfoot and a Bottle of Beer”: Food as Cultural Performance in the Aftermath of Hurricane Katrina

Harvey

2017

Symbolic Interaction

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In the aftermath of Hurricane Katrina and the federal levee failures, hundreds of thousands of volunteers went to New Orleans to help rebuild. Food was quickly used as a way to welcome volunteers, to compensate them for their hard work, to celebrate progress in rebuilding community, and to interact with others. In time, however, the giving and consuming of food was renegotiated. Volunteers coming to New Orleans expected meals representative of New Orleans's foodways. This article looks at the cultural performance of food in the aftermath of Hurricane Katrina. In particular, I analyze the symbolic exchanges of food in what I call performances of reciprocity and performances of solidarity. This study adds to the burgeoning work in symbolic interaction on food, especially as it pertains to progressive spaces of cultural politics.

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Dramaturgy and Social Movements: The Social Construction and Communication of Power

Cited by 60 publications

References 29 publications

Going All the Way: Politicizing, Polarizing, and Radicalizing Identity Offline and Online

Going All the Way: Politicizing, Polarizing, and Radicalizing Identity Offline and Online

Understanding Music in Movements: The White Power Music Scene

“Gimme a Pigfoot and a Bottle of Beer”: Food as Cultural Performance in the Aftermath of Hurricane Katrina

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