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بالاعتماد على ما تسمح به التقاليد من ممارسات، وباستخدام الطقوس والرموز المعروفة في المجتمع، يمكن للمنظمين/ات تعميق انخراط المشاركين/ات، وتضليل المعارضين/ات، وتحويل البيئة الثقافية إلى صالحهم.

إن صندوق العدة أداة حية تتطور باستمرار ولذلك بعض الوحدات (مثل هذه) متوفرة فقط كملخص للفكرة. هل ترغب/ين بمساعدتنا في كتابة هذه الوحدة؟ تواصل/ي معنا!

Never go outside the experience of your people. . . . Wherever possible go outside the experience of the enemy.

— Saul Alinsky

أمثلة من الواقع

The Genki Spark: Taiko Projects with Attitude

The Genki Spark is an Asian women's arts and advocacy group that uses Japanese taiko drumming to foster community and leadership.

How Hip Hop Became the Force Behind Gabon’s Political Activism

In Gabon as in other African states, rap has become instrumental in constructing political identity.

Tara Yosso, Race Ethnicity and Education, 2005

Cultural Organizing: Experiences at the Intersection of Art and Activism

Javiera Benavente with Rebecca Lena Richardson, 2012

المخاطر المحتملة

Exclusion: When drawing on culturally specific practices, there is always a risk of alienating not just opponents, but also people you would like to welcome into your effort. Then again, this is true of any cultural practice: protest marches, press conferences, sit-ins, and other organizing staples all energize some folks while making others feel excluded (see: THEORY: Political identity paradox) and (see: PRINCIPLE: Make new folks welcome). If exclusion is an issue, it can be moderated by adapting or combining practices from different cultural communities; educating allies on the meaning of the practices; or carefully selecting practices that are welcoming. For example, the freedom songs of the African-American civil rights movement combined Black spirituals and white folk music as a way to assist in organizing across racial lines.

Appropriation: Organizers must also be aware of the dangers of simplification and appropriation. Cultures are complex and dynamic, with blurry boundaries and lots of internal diversity. They cannot be reduced to a small set of symbols or art forms. Those who are not directly involved in a cultural community may have a particularly difficult time understanding this complexity. Beware of appropriating aspects of a culture you do not fully appreciate or understand, no matter how pure your intentions.

كتابة

Paul Kuttner

Paul Kuttner is an educator and researcher who works at the intersection of art, culture, education, and social change. He has taught theater, creative writing, and civic engagement in schools and community organizations, is a co-author of A Match on Dry Grass: Community Organizing as a Catalyst for School Reform, and serves as Minister of Cultural Scholarship for the US Department of Arts and Culture.

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