COMS 492: Cultural Resistance
- syllabusMonday
3:35pm-6:25
Arts W-220
contact: via WebCT Vista
Anna Feigenbaum
Office Hours: Tues 10:30 – 1:00
W-240 (or by appt)
(514) 398-4400 x094022
Course Description
This course examines theories and practices of cultural resistance. Cultural resistance refers to the ways that
groups fighting for social justice engage media and other communication practices in their struggles.
Throughout the course, we will develop analyses that situate practices of cultural resistance in a historical,
national and political economic context. First, we will look at how different writers have defined and discussed
cultural resistance. We will ask questions about what ‘counts’ as cultural resistance and discuss whether
resistance can ever be only cultural. We will then look at ways in which resistance has been theorized. We will
focus on how resistance is communicated by examining practices that challenge authoritarian, repressive and
oppressive power relations. In the third and final section, we will consider how cultural resistance is developed
and deployed as a tactic for subverting, seizing and transforming such power relations. We will turn to
historical and contemporary examples of social justice struggles, examining both practices commonly
associated with communication (journalism, singing, advertising), as well as practices that are less commonly
thought of in relation to communication (knitting, stenciling, cheerleading). Throughout the course we will
carefully consider how differences in regard to race, class, gender, sexuality and nation shape groups’ media
and communication practices. This course will focus on North American, European and Latin American social
movements. Films, websites, workshop exercises and guest speakers will also be part of the course.
Required Texts
 Course Pack
 Trapese Collective (ed.). 2007. Do It Yourself: A Handbook for Changing Our World. London and Ann Arbor:
Pluto Press
 T.V. Reed. 205. The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of
Seattle. Minneapolis: University of Minnesota Press
Assignments
A. Scrapbook – 15%
Each student will keep a “digital scrapbook.” Your digital scrapbook can be (a) made on a program of your
choice, converted to pdf format and uploaded using the journal function; or (b) it can be created directly on
WebCT using the journal application. Your entries can include newspaper excerpts, links to websites,
anecdotes of everyday encounters, photographs you’ve taken of street art, your drawings, etc. that evidence
practices of cultural resistance. Students will write a short analysis or reflection to accompany each object put
in the digital scrapbook.’ For example, an image of a FREE EDUCATION FOR ALL sticker you saw on a lamppost
might be accompanied by a discussion of how stickers communicate and whether or not you think they
effectively communicate their message. Students will be required to make two entries each week. On occasion,
a specific task or focus will be assigned for a scrapbook entry. The rest of the entries can be determined by
students. The scrapbook is a place for critical reflection, where you are encouraged to expand on readings or
discussions by bringing them into contact with your everyday life. Digital scrapbooks will be checked on WebCT
three times over the period of the course.
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B. Presentation on Readings –10% (5% for the write up + 5% for the in-class presentation)
Each student will be responsible for doing a 10 minute presentation on selected course readings. The goal of
the presentation is not to summarize the texts, but to foster a critical discussion that stems from the readings.
On each presentation date there will be two presenters. For the presentation you will turn in a 500 WORD MAX
write-up that clearly identifies and discusses the central argument(s) of the reading and provides 2-3
discussion questions for the class. Your write-up will serve as the basis for your in-class presentation.
Presenters can work individually on the readings they select, or collaboratively with the other presenter for that
date. If you choose to do the write-up collaboratively you will have a 1000 WORD MAX limit together. Details
will be given in seminar and will be available on WebCT.
C. Minutes and Synthesis – 5%
For every course meeting there will be a minutes keeper and a discussion synthesis. Minutes are a written
record of a group’s discussion. A discussion synthesis is a summary of conversations and debates that pulls
out key ideas, disagreements and insights. It ‘synthesizes’ information by finding links, overlaps and significant
conflicts in a discussion. The purpose of the synthesis for this class is to help develop our active listening skills
and to foster collective knowledge practices.
Each day two students will be responsible for generating and sharing a discussion synthesis. The two people
responsible for the discussion synthesis will keep the minutes. One minute keeper will ‘take minutes’ on the
first half of the class. S/he will generate a synthesis from these minutes during the break to share with the
class after the break. The other minute keeper will take minutes after the break until the end of the class and
will provide a synthesis at the beginning of the following week’s seminar that recounts what we did during the
prior seminar. Minutes must include: The date, a list of people present, the topic we are discussing (found on
the schedule of readings), an outline of our discussions including key points made, ideas introduced, insights
and significant disagreements.
An example of how to keep minutes and how to generate a synthesis will be given in class. You will receive full
marks so long as all required components are included and reported. After they are presented to the class, the
minutes and synthesis will be posted on WebCT so that everyone can access them.
D. Critical Essays – 25% Each
(1) Conceptualizing Cultural Resistance: Students will critically consider the definitions of cultural resistance
offered in the first two weeks of the course. Students will address questions such as: What definitions of
cultural resistance are most convincing? Does it make sense to think of cultural resistance as separate from
other forms of resistance? What specific forms of oppression and power relations does cultural resistance
confront? What concepts and methods for studying cultural resistance provide the best frameworks for
researching resistant practices and events? Essays should be between 1250-1500 words.
Due: February 11, 2007
(2) Tactical Analysis: Students will analyze a specific incidence of collective cultural resistance (i.e. a solidarity
campaign or a street theatre performance) using concepts discussed in the course. What kinds of tactics did
this event or practice engage? How did people respond? Do you think the message was effectively
communicated? Did the group achieve its aim? What can analyzing this practice or event offer to broader
studies of cultural resistance? Essays should be between 1250-1500 words.
Due: March 17, 2008
F. Cultural Resistance Class Project – 20% (10% group presentation + 10% for individual write-up)
As a whole group the class will collectively brainstorm and outline a plan for an act of cultural resistance. The
group will be given a situation in which they must construct, all together, a hypothetical event that engages
theories, tactics and practices discussed during the course. Prior to the group project, the class will engage in
consensus decision-making training. The class will then participate in a consensus decision-making process
during the formulation of the class project. Smaller working groups can be established to better schedule
meetings and divide tasks.
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After the group presentation, each student will turn in a reflection paper (750-1,000words) that outlines their
experience of the project. This should include: initial thoughts about the project, a reflection on the decisionmaking process and division of tasks, an account of the experience of working collectively, and a summary of
problems, concerns, questions and inspirations for future projects. The reflection paper is due on April, 14
2008 by 4pm.
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COURSE POLICIES
Please read, understand and adhere to the following policies. As this is an advanced seminar, focused reading
of the texts, attendance and active participation—both speaking and listening—is required.
Anti-Oppression Policy
This classroom will be a space where tolerance and respect for differences guides our speech and
behaviour. The instructor is committed to (1) making this classroom a space free of oppressive
behaviour in all its manifestations, and (2) to ensuring that evaluations of students are nondiscriminatory and empowering. Students should not hesitate to bring incidents of oppressive
behaviour to the attention of the instructor. This includes expressions of racism, sexism, misogyny,
heterosexism, homophobia, transphobia, ageism, ableism, xenophobia, or Islamophobia.
Submissions/Lateness/Extensions Policy
Assignments are to be handed in at the beginning of the class on the due date indicated. Extensions will be
granted on select occasions, for substantive reasons, at the discretion of the instructor. Work handed in late
(without an extension) will be penalized by 1/3 grade-point per day (i.e. from a B+ to a B). Unless previously
agreed to by the instructor, assignments may not be submitted by e-mail, left in the instructors’ mailbox, or
pushed under the instructors’ office door. Assignments submitted in one of these ways will count as late and
be penalized accordingly.
Plagiarism Policy
Plagiarism, defined as representing the work of another person as one’s own, will not be tolerated, and will be
dealt with according to McGill University’s plagiarism policy: “McGill University values academic integrity.
Therefore all students must understand the meaning and consequences of cheating, plagiarism and other
academic offences under the Code of Student Conduct and Disciplinary Procedures (see
www.mcgill.ca/integrity for more information).” Students must familiarize themselves with that policy, since
ignorance of what constitutes plagiarism is not an acceptable defense. Students who are unsure how to
reference sources correctly are urged to ask the instructor for advice, to consult a style manual (i.e .MLA
Handbook for Writers), or to attend a conference on referencing offered by the library, prior to submitting their
work.
Communications Policy
ALL CORRESPONDANCE FOR THIS COURSE WILL OCCUR OVER WEBCT. Check your WEBCT on a regular basis
(i.e. once every day or 2 days) for course updates and emails. If you have a question, comment or anything else
you require my attention for, USE WEBCT TO CONTACT THE INSTRUCTOR.
If you have a complex question, comment or insight, please come to my office hours! Office hours are not just
for emergencies or assignment help –visit throughout the term to discuss any questions or insights you may
have.
All administrative documents will be posted on WebCT. This includes things such as: the syllabus, assignment
sheets, power point presentation slides, resources and weblinks. If you miss a seminar or loose a handout, you
can download a new one off of WebCT.
I am using WebCT instead of email because of the high volume of e-mails I receive to my McGill webmail
account. I do not want your messages to get lost in with junk mail or accidentally deleted. This will let us
separate our communication about the course from the rest of our emails which I think will be beneficial for
everyone.
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RESOURCES
WebCT Vista
This course has a supplementary online component – all students registered in the class have access to the
web-based materials posted on Web CT Vista by the instructor, and are free to post links and use the online
discussion boards (these will, in general, be unmoderated, but any content may be removed at the discretion
of the instructors if it contravenes the anti-oppression policy).
Writing Centre
The McGill Writing Centre is a great resource for students who wish to work on their writing skills. Students
should contact the Writing Centre directly for current information. Visit www.mcgill.ca/writing or call
(514)398.6960.
Community Resources
The Québec Public Interest Research Groups (QPIRGs) at McGill and Concordia, together with Centre 2110 (on
the Concordia University campus) have compiled an online searchable database of their lending library
collections which you can access at www.alternativelibraries.org. Anyone can borrow materials (which include
some hard-to-find titles and A/V materials) from these libraries free of charge. These will be great resources for
your final project! www.alternativelibraries.org
Students With Disabilities
As per the McGill Policy Concerning the Rights of Students with Disabilities www.mcgill.ca/osd/rights
“[s]tudents with disabilities have the right to a determination of available support services by the Office for
Students with Disabilities (OSD) to help them fulfill their academic requirements; these include readers,
notetakers, interpreters, and technological aids”. Students with disabilities also “have the right to receive
modifications in the evaluation process, as appropriate” and “the right to a review of environmental [and
“attitudinal”] barriers in the academic setting and the determination of a method of dealing with them.” For
more information, contact the Office for Students with Disabilities (514)398.6009; room 3100, Brown Student
Services Building (3600 McTavish). The instructor of this course is committed to making it a space of learning
free of barriers and inclusive of all students. However, the administration of McGill University has not yet
located all academic units in accessible, barrier-free buildings. I am more than willing to meet students at an
alternate location upon request. Please inform me at the beginning of the term (or as soon as possible) of this,
or any needed modifications to the learning/evaluation process.
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Schedule of Readings
Text Location Key
DIY = Do It Yourself: A Handbook for Changing Our World
ART = The Art of Protest
CP = Course Pack
WEB = Online Website
HAND= Hand out in class
January 7, 2008
Introduction to Course
Overview of course content and requirements. Discussion of praxis: How will we engage theory and
practice throughout this course?
Activity: Smartmeme – Interventions Worksheet
January 14, 2008
What is Cultural Resistance?
Barbara Epstein. 1991. “Radical Politics in Late Capitalist Society” in Political Protest & Cultural
Revolution. Berkeley: University of California Press, pp. 227-261. [CP]
Jennifer Verson. 2006. “Why We Need Cultural Activism” in Trapese Collective (ed.). 2007. Do It Yourself:
A Handbook for Changing the World. London: Pluto Press, pp. 171-186. [DIY]
Stephen Duncombe (ed.). 2002. “Introduction” in Cultural Resistance Reader. London and New York:
Verso, pp. 1-15. [CP]
John Jordon 2004. “Deserting the Culture Bunker” in Journal of Aesthetics & Protest v1:3, available at
http://www.journalofaestheticsandprotest.org/ [WEB]
***Fill out student survey on WebCT Vista***
January 21, 2008
What’s So Cultural?
Judith Butler. 1997. “Merely Cultural” Social Text, No. 52/53, Queer Transexions of Race, Nation, and
Gender (Autumn - Winter, 1997), pp. 265-277. [CP]
Verta Taylor and Leila J. Rupp. 1993. “Women’s Culture and Lesbian Feminist Activism: A
Reconsideration of Cultural Feminism” Signs V19:1, pp. 32-61. [CP]
Audre Lorde. 1984. “Poetry is Not a Luxury” in Sister Outsider. Freedom, CA: The Crossing Press, pp. 3639. [CP]
T.V. Reed. 2005. “Scenarios for Revolution: The Drama of the Black Panthers” in The Art of Protest:
Culture and Activism from the Civil Rights Movement to the Streets of Seattle. Minneapolis: University of
Minnesota Press [ART]
January 28, 2008
Solidarity, Power and Acting with Others
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Linda Alcoff. “The Problem of Speaking for Others” Cultural Critique No. 20 (Winter 1991-1992), pp. 5-32.
[CP]
“Power: building it without taking it” & “Fighting to Win: OCAP” in We are Everywhere ed. Notes from
Nowhere. London: Verso, pp. 387-397 & 464-471. [CP]
Aaron Lakoff. 2005. “Israeli anarchism—young, queer, and radical in the promise land: an interview with
Yossi. Anarchist Studies v13:2, pp. 118-126. [CP]
Dan S. Wang. 2005. “New Solidarities: After Ideology and Culture, There Is History” in Journal of Aesthetics
& Protest v1:4 available at http://www.journalofaestheticsandprotest.org/ [WEB]
February 4, 2008
The Precarity Fight, or ‘Talking bout my Generation?’
Angelo Quattrocchi. 1968/1998 .“What Happened” in Angelo Quattrocchi and Tom Nairn The Beginning of
the End. London & New York: Verso, pp. 49-52. [CP]
Harsha Walia. 2007. “Increasing Precarity: The Politics of Migrant Labor” (June 22, 2007) available at
http://www.leftturn.org/?q=node/706 [WEB]
Aviv Kruglanski. 2005. “Precrity Explained to Kids (a medley)” Journal of Aesthetics & Protest, v1:4,
available at http://www.journalofaestheticsandprotest.org/ {WEB]
Steven Turpin & Alessandra Renzi. 2006. “Nothing Fails Like Prayer: Notes on the Cult of San Precario.
Fuse v30:1, pp. 25-35 & “Statements On Precarity: A Follow-Up” Fuse v30:2, pp. 17-27. [CP]
 Precari-Punx <http://www.56a.org.uk/precari.html>
February 11, 2008
Creating Space
Marilyn Frye. 1983. “Some Reflections on Separatism & Power” in The Politics of Reality Trumansberg, NY:
The Crossing Press, pp. 95-109 [CP]
Wilmette Brown. 1983. “Black Women’s Autonomy” in Black Women and the Peace Movement. Bristol:
Falling Wall Press, pp. 19-24. [HAND]
Mélanie Hogan. Radical Queers: A Pop Culture Assessment of Montréal's Anti-Capitalist Ass Pirates, the
Panthères roses, and Lesbians on Ecstasy” Canadian Women’s Studies v.24:2,3, pp. 154-159. [CP]
Hakim Bey. 1985/1991. “Pirate Utopias,” “Waiting for the Revolution” and “The Psychotopology of
Everyday Life” in TAZ: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism. Brooklyn:
Autonomedia, pp. 97-108 [CP]
Augusto Boal. 1998. “Invisible Theatre” in Jan Cohen Cruz (ed.) Radical Street Performance. London &
New York: Routledge, pp. 121-124 [CP]
“Why we need autonomous spaces in the fight against capitalism” & “How to set up a self-managed social
centre” in Trapese Collective (ed.). 2007. Do It Yourself: A Handbook for Changing the World. London:
Pluto Press, pp. 201-232. [DIY]
***Critical Essay 1 Due***
February 18, 2008
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Consensus Decision-making Training
“Why do it without leaders” & “How to make decisions by consensus” in Trapese Collective (ed.). Do It
Yourself: A Handbook for Changing the World. London: Pluto Press, pp. 50-77. [DIY]
Activity: Training in consensus process for Creative Resistance project
February 25, 2008 – STUDY BREAK
March 3, 2008
Programs, Manuals and Interventions
Readings TBD [HAND]
Guest Lecture: Adam Bobbette, artist and curator
March 10, 2008
Re-Writing the Streets
T.V. Reed (2005) “Revolutionary Walls: Chicano/a Murals, Chicano/a Movements” in The Art of Protest:
Culture and Activism from the Civil Rights Movement to the Streets of Seattle Minneapolis: University of
Minnesota Press. [ART]
Hakim Bey. 1985/1991. “Chaos” & “Poetic Terrorism” in TAZ: The Temporary Autonomous Zone,
Ontological Anarchy, Poetic Terrorism. Brooklyn: Autonomedia, pp. 3-6 [CP]
MacPhee, Josh. 2004. Stencil Pirates. Brooklyn: Soft Skull Press, pp. 8-19; 36-55 [CP]
 Public Discourse. 2005. dir. Brad Downey, Tim Hansberry & Quenell Jones
Guest Speaker: Martin Jackson, street artist and researcher
March 17, 2008
Re-Crafting Resistance
Jacqueline Tobin & Raymond G Dobard 1999. Hidden in plain view: the secret story of quilts and the
underground railroad. New York: Double Day, excerpts. [HAND]
Morgan Andrews. 2007. “When Magic Confronts Authority: The Rise of Protest Puppetry in N. America” in
Josh MacPhee and Erik Reuland (eds.) Realizing the Impossible: Art Against Authority. Oakland and
Edinburgh: AK Press, pp. 180-209. [CP]
Esther Leslie. 1998. “Walter Benjamin: Traces of Craft” in Journal of Design History v11:1, pp. 5-13. [CP]
Ynestra King 1983. “All is Connectedness: Scenes from the Women’s Pentagon Action, USA” in Keeping
the Peace, Lynne Jones (ed.), pp. 40-63. [CP]
“Knot in Our Name—Activism beyond the knitting circle profession” Bitch (Winter 2006) # 34, pp. 36-41.
[HAND]
***Critical Essay 2 Due***
March 20, 2008 (Thursday)
Rythms of Resistance
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T.V. Reed. 2005. “Singing Civil Rights: The Freedom Song Tradition” in The Art of Protest: Culture and
Activism from the Civil Rights Movement to the Streets of Seattle Minneapolis: University of Minnesota
Press. [ART]
Margaret E. Farrar and Jamie L. Warner. 2006. “Rah-Rah-Radical: The Radical Cheerleaders' Challenge to
the Public Sphere” Politics and Gender (2006), 2: 281-302. [CP]
Anna Feigenbaum. 2007. “Singing for Our Lives’: Constructing Community & Collective Identities in
Greenham Women’s Songs” (unpublished paper) [HAND]
Stevphen Shukaitis. 2007. “Affective Composition and Aesthetics: On Dissolving the Audience and
Facilitating the Mob” Journal of Aesthetics & Protest v1:5 available at
http://www.journalofaestheticsandprotest.org/ [WEB]
Grey Filastine Interviewed by Lex Bhagat 2003. “Music for Angry Mob: an interview with the Infernal Noise
Brigade” Journal of Aesthetics & Protest v1:2 available at http://www.journalofaestheticsandprotest.org/
[WEB]
March 24, 2008 – Holiday
March 31, 2008
Diversity of Tactics
John Jordon. 2002. “The Art of Necessity: The Subversive Imagination of Anti-road Protest and Reclaim the
Streets.” in Stephen Duncombe (ed.) Cultural Resistance Reader. London and New York: Verso, pp. 333357. [CP]
“Touching the Violence of the State” in We are Everywhere ed. Notes from Nowhere. London: Verso, pp.
346-351. [CP]
Alex Foti (2007) “Pink, Black, Pirate: Taking Stock of Rostock” Transform (June 6, 2007) available at
http://transform.eipcp.net/correspondence/1182944688 [WEB]
Anna Feigenbaum. 2007. “Death of a Dichotomy: Tactical Diversity and the Politics of Post-Violence. A
Review of Ward Churchill (AK Press 2007) Pacifism as Pathology and Peter Gelderloos (South End Press
2007) How Nonviolence Protects the State” in Upping the Anti: a journal of theory and action, no. 5.
[HAND]
Stephen Duncombe. 2007. “Politics in an Age of Fantasy” turbulence (June 2007)
http://www.turbulence.org.uk/politicsinanageo.html [WEB]
April 7, 2008
Action Plan Presentation
***Reflection Paper due April 14,, 2008 by 4pm***
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