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DESIGN GUIDELINES Hard-Won Insights That Can Inform Creative Action Design

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DESIGN GUIDELINES Hard-Won Insights That Can Inform Creative Action Design PRINCIPLES DESIGN GUIDELINES Hard-won insights that can inform creative action design. “Knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and with each other.” —Paulo Freire After decades of making foolish mistakes, veteran creative activists tend to acquire a set of mental short-cuts. Whether they’re conscious of them or not, they bring these operating principles to bear on each new action or campaign they cook up. After a string of late- night truth serum injections and fugue-state urban vagabonding, we managed to pry a bunch of them loose. Enjoy. PRINCIPLE: Anger works best when you have the moral high ground IN SUM Anger is a double-edged sword. Or perhaps it’s more like Anger is potent. Use it a water hose: it’s full of force, it’s hard to control, and it’s wisely. If you have the important where you aim it. moral higher ground, it is There is a crucial distinc- “Integrity gives compelling and people tion to be made between moral will join you. If you don’t, you’ll indignation and self-righteous- deep meaning look like a cranky wing-nut. ness. Moral indignation chan- and moral force to nels anger into resolve, courage EPIGRAPH and powerful assertions of anger. We should “The truth will set you free, dignity. Think: the civil rights movement. Self-righteousness, on never come o but rst it will piss you o¡.” the other hand, is predictable —Gloria Steinem as mad-for-the- and easily dismissed. Think: sake-of-being- PRACTITIONERS masked 16-year-olds holding Malcolm X a banner that says “SMASH mad, but rather SNCC CAPITALISM AND EAT THE Occupy Wall Street RICH.” as reluctantly, Have you seen the scene of genuinely angry FURTHER INSIGHT the “Malcolm X” movie where Elephant Journal. “Buddhism and an army of outraged people in the face of the Occupy Movement: Taking Care gather and stand in perfect of Our Anger,” by Michael Stone outrageous http://trb.la/xuhdo8 formation, with perfect pos- Video: “You’re Doing It Right: UC Davis ture, outside a prison to circumstances.” Students Respond with Silent, Powerful demand the release of their Protest of Pepper Spraying” friend? It was so bad-ass! They were all wearing suits, they http://trb.la/yh0k5z stood as one, and their discipline clearly communicated: we’re Video: “Occupy Wall Street: Chris Hedges mad as hell, we’re right, you’re wrong, and you’re going to give us Shuts Down CBC’s Kevin O’Leary” what we want. http://trb.la/y61Rrm Integrity gives deep meaning and moral force to anger. We should never come off as mad-for-the-sake-of-being-mad, CONTRIBUTED BY but rather as reluctantly, genuinely angry in the face of out- Joshua Kahn Russell rageous circumstances. Rather than reacting, we respond. Rather than lashing out, we stand our ground. Of course, suppressing legitimate anger can be as debilitating as hair-trigger reactions. Parts of the Left have been held back because we are afraid to express or channel popular outrage. Unable to tap into large-scale disaffection, 96 PRINCIPLE: Anger works best when you have the moral high ground Related: TACTICS Creative disruption p. 18 In¯ltration p. 64 Public ¯libuster p. 86 Strategic nonviolence p. 88 Nonviolent search and seizure p. 76 Blockade p. 14 PRINCIPLES Reframe p. 168 Maintain nonviolent discipline p. 148 Escalate strategically p. 134 Use the law, don’t be afraid of it p. 196 Play to the audience that isn’t there p. 160 Pace yourself p. 158 Take leadership from the most impacted p. 180 Take risks, but take care p. 182 Seek common ground p. 170 THEORIES Hamoq & hamas p. 236 Revolutionary nonviolence p. 260 The tactics of everyday life p. 268 Anti-oppression p. 212 Points of intervention p. 250 CASE STUDIES Occupy Wall Street web Malcolm X’s anger was earned by a life of oppression, and he wielded it with discipline and dignity. we remain marginal. By contrast, many youth movements self- marginalize precisely because their anger doesn’t resonate. Find the sweet spot between the two. PRINCIPLE: Anger works best when you have the moral high ground 97 PRINCIPLE: Anyone can act IN SUM If you want to pose as someone you’re not — for example, Don’t worry about being a while infiltrating a conference — you don’t need to worry lousy actor — you’re about being a lousy actor. a great one. EPIGRAPH “Acting is the least mysterious of all crafts. Whenever we want something from somebody or when we want to hide something or pretend, we’re acting. Most people do it all day long.” —Marlon Brando PRACTITIONERS The Yes Men Sascha Baron Cohen Improv Everywhere FURTHER INSIGHT The Yes Men scrutinizing their fake business cards. Improv can be an excellent tool for overcoming your instincts to shy away Andy from the Yes Men, for example, is a terrible actor. In or duck out. Find a local improv class in your community if one’s available, college he got kicked out of a play. In high school he did really or check out these seminal texts: well in an audition, once, and got a part — but then was atro- Halpern, Charna, Del Close, and cious in the actual performance, as he couldn’t stay interested Kim Johnson. Truth in Comedy: The in the role. Yes Man Mike, for his part, once played the role Manual of Improvisation. Colorado of a dinosaur in an elementary school play. He was good at Springs, CO: Meriwether, 1994. it, but only because you couldn’t actually see his expression, Madison, Patricia Ryan. Improv which was most likely not the least bit credible. Wisdom: Don’t Prepare, Just Show Up. New York: Bell Tower, 2005. OK, you’ll say, but Andy looks very convincing when he ap- pears on the BBC, posing as a spokesperson for Dow Chemi- Boal, Augusto. Games for Actors and Non-Actors. New York: Routledge, 2002. cal. Actually, look closely: he’s terrified. The whole time see PRINCIPLE: Everyone has balls/ovaries of steel. But after a week CONTRIBUTED BY of solid rehearsals, he managed to pretty much memorize Andy Bichlbaum everything he had to say and spit it out. His terrified look became the look of a nervous PR flak, which is exactly what he’d turned himself into. Professional PR people are probably terrified too, but they’re very, very rehearsed. Rehearsing is one of the two keys to successful “acting,” 98 PRINCIPLE: Anyone can act which in this context is basically “You’ll quickly Related: synonymous with “keeping your TACTICS shit together.” (Incidentally, nd that when here’s how you can become an Identity correction p. 60 everyone in the Hoax p. 54 excellent PR flak yourself: just In¯ltration p. 64 memorize the five answers you room believes that Invisible theater p. 66 want to give, and recite them in PRINCIPLES response to whatever question you’re a particular Use the Jedi mind trick p. 194 you’re asked, with appropriate person, a magical Do the media’s work for them p. 124 hemming and hawing, which, Everyone has balls/ovaries of steel p. 136 in the biz is called “bridging” thing happens: Use other people’s prejudic- see PRINCIPLE: Stay on message. es against them p. 192 you start to Stay on message p. 178 That’s all there is to it! And it Play to the audience that isn’t there p. 160 works whether you’re pretend- believe it as well.” ing to be Dow Chemical on TV, CASE STUDIES posing at a conference as the CIA or speaking as yourself to a Bidder 70 p. 290 reporter about your latest action.) Dow Chemical apologizes for Bhopal p. 318 Public Option Annie p. 346 The second key to keeping your shit together (AKA acting) Insurgent Rebel Clown Army web is to realize that once you’re up there, pretty much anything Billionaires for Bush p. 296 you do is going to be fine. After all, you’re the most important person in the room! You’ll quickly find that when everyone in the room believes that you’re a particular person, a magical thing happens: you start to believe it as well. That’s what makes “identity cor- rection” see PRINCIPLE so much easier than regular acting. When you’re a regular actor, everyone in the room knows you’re not actually Hamlet, or Sweeney Todd’s wife, or an elementary-school dinosaur — and they have to work plenty hard to “suspend disbelief.” In hoax-like acting, the audience already believes you are who you’re billed as. It’s suspension of disbelief in reverse: under the influence of your audience, you end up believing it as well, and acting just right. A quick way to test the principle: just put on a suit or business dress, and notice how you act differently. See? PRINCIPLE: Anyone can act 99 PRINCIPLE: Balance art and message IN SUM “Political art.” Easily said, harder to do. Art seeks to explore E¡ective creative interventions the deep questions. Politics demands a clear direction and require a judicious balance of message. That’s a tough tension to manage. Sometimes quick art and message. It’s not just gimmicks are called for; sometimes it pays to dig deeper — in what you say, it’s how you say our craft and in ourselves — to mobilize the unique powers it. If the role of the artist is to of art.
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