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Re(Art)Iculating Empowerment: Cooperative Explorations with Community Development Workers in Pakistan

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Re(Art)Iculating Empowerment: Cooperative Explorations with Community Development Workers in Pakistan RE(ART)ICULATING EMPOWERMENT: COOPERATIVE EXPLORATIONS WITH COMMUNITY DEVELOPMENT WORKERS IN PAKISTAN by Shama Dossa A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Adult Education and Counselling Psychology Ontario Institute for Studies in Education of the University of Toronto © Copyright by Shama Dossa (2011) RE(ART)ICULATING EMPOWERMENT: COOPERATIVE EXPLORATIONS WITH COMMUNITY DEVELOPMENT WORKERS IN PAKISTAN Doctor of Philosophy, 2011 Shama Dossa Graduate Department of Adult Education and Counselling Psychology University of Toronto Abstract Situated in the postcolonial modernizing discourse of development, many empowerment narratives tend to pre-identify, pre-construct and categorize community development workers/ mobilizers as empowered bodies, catalysts, and change agents. These bodies are expected to and are assumed will facilitate a transformation in oppressed peoples’ self image and belief’s about their rights and capabilities. Although feminist academics/activists have been critical of imperialist, neo-liberal and politico-religious co-optations of understandings of empowerment, limited attention seems to have been paid to the material effects of empowerment narratives on the lives of these community development workers. Nor does there appear to be sufficient analysis into how local community development workers/mobilizers who find themselves in precarious positions of employment, engage with these narratives. Provided with guidelines based on project objectives and lists of targets, many development workers/mobilizers in Pakistan tend to live with expectations of how best to ‘translate/transform’ empowerment from the abstract into the concrete while restricted in their space to critically reflect on theoretical notions that drive their practice. This thesis provides insight into the economy of empowerment narratives and the potential they have to mediate ‘encounters’ shaping ‘subject’ and ‘other’ by critically exploring how bodies of community development workers are put to work and are made to work. Drawing on feminists poststructuralist and postcolonial theory my work explores ii how these community workers/mobilizers located in the urban metropolis of Karachi, embedded in a web of multiple intersecting structures of oppression and power relations ‘encounter’, theorize, strategize and act upon understanding of empowerment and community development through an arts informed cooperative inquiry. Through the use of prose, creative writing, short stories, photo narratives, artwork and interactive discussions my participants and I begin to complicate these narratives. As a result empowerment narratives begin to appear as colliding discourses, multi-layered complex constructs, which may form unpredictable, messy and contradictory assemblages; as opposed to linear, universal, inevitable and easily understood outcomes and processes. I conclude that the insistence to complicate and situate such messy understandings in specific contexts is important for women’s movements if empowerment is to retain its strategic meaning and value in feminist theorizing. iii Acknowledgements There are many people to acknowledge and thank who have supported me on this journey and provided inspiration and strength to complete this endeavour. I begin with thanking all participants in this study without whom none of this would have been possible. I thank you for your time, your trust in sharing experiences and allowing your artwork to be included in this text. I would like to acknowledge the support of my supervisor Dr. Kiran Mirchandani for trusting my instincts and letting me take risks; Dr. Ardra Cole for her inspiring classes and her belief in my research and writing skills; and Dr. Amina Jamal for her constant encouragement, feedback and discussions on feminisms in Pakistan. My teachers back home, Kausar S. Khan at Aga Khan University in Karachi for years of mentoring in the field and providing me with the opportunity to bring activism into the academy; and Jiya from whom I developed a love for the Urdu language and short stories. I am grateful to all my extended family members and friends who have been life rafts to me in my time of need both here in Canada and in Pakistan and fill my life with drama, intrigue and adventure. Cecila Fernandez thank you for providing a roof over my head in Toronto and a sympathetic ear to all my ramblings. Qamar Mahmood for being my constant companion this last year and seeing me through the trials and tribulations of writing and re-writing. Shelina Kassam, Saira Alam, Atiqua Vally and Saliha Ramay for being my friends. Raheel Lakhani and Hina Haqani for making me feel we can make a difference with our youth activism. My sister Rehmat and brother Hussain for their humour, hugs, and the ability to always make me feel better. My parents Laila and Aslam Dossa who believed in me throughout and kept telling me “You can do it!”. My maternal grandparents Malek Sultan and Mohammed Jaffer Damji and my paternal grandparents Nurunnissa and Ramzanali Dossa whose lives and story telling abilities I draw on for inspiration as I write my own stories. iv Contents Abstract................................................................................................................................................ ii Acknowledgements ............................................................................................................................ iv Dedication ........................................................................................................................................... ix Glossary ............................................................................................................................................... x Prologue ............................................................................................................................................... 1 Section I................................................................................................................................................ 4 Chapter 1 Introduction....................................................................................................................... 5 Developing a Theoretical Framework..............................................................................................12 Demarcating the ‘Terms’ of the Encounter......................................................................................18 Conclusion........................................................................................................................................25 Chapter 2 Methodology: Artful and Cooperative.......................................................................... 31 Coming Towards Scholartistry.........................................................................................................31 Arts-Informed Research ...................................................................................................................35 Co-Operative Inquiry .......................................................................................................................37 Combining Approaches: The Research Design ...............................................................................38 Participants and Process...................................................................................................................39 Phase I Recruitment, Selection and In-Depth Interviews............................................................ 40 Indirect recruitment................................................................................................................. 40 In-depth interviews. ................................................................................................................ 44 Phase II Group Inquiry Process................................................................................................... 49 Step 1 Theatre of the Absurd. ................................................................................................. 49 Step 2 Developing the ‘Khazana-e-Takhleeq’ (Creativity Treasure Chest). .......................... 53 Step 3: Photography workshop. .............................................................................................. 54 Step 4: Free style art making. ................................................................................................. 55 Step 5: Viewing Slum Dog Millionaire. ................................................................................. 57 Step 6 Readers’ Theatre.......................................................................................................... 58 Reviewing the Group Process .....................................................................................................61 Chapter 3 Form, Substance and Cartographic Navigations......................................................... 64 Hybrid Forms of Writing..................................................................................................................65 Audience Engagement......................................................................................................................70 Chapter 4 Research as Autobiographical: Situating Self in pursuit of Empowerment... .......... 78 v Section II............................................................................................................................................ 84 Chapter 5 Setting the Context ........................................................................................................
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