Mohan Dutta: Culture-Centered Approach

When working on culture-centered projects of social change, our research team is often approached by academic partners wanting to adopt the culture-centered approach or wanting to secure an entry into a collaboration with a community partner. While in many instances, these relationships result in mutual learning experiences, and bring new insights into the work of the CCA, in some instances, academic partners in culture-centered projects have not really imbibed the basic principles of the CCA before approaching collaboration. Some partners are eager to get a publication out on this or that marginalized community. The work of our team then becomes one of building the ethos of patient co-learning. That this or that publication is not what one is targeting when embarking on a culture-centered project is the first lesson. Academic partners are sometimes too eager to take this or that element of the CCA and market it as their own contribution. You forget that the hard work of c

The very nature of structures, as frameworks for organizing communicative opportunities, is antithetical to the creative expressions that emerge organically from communicative spaces in community life. In other words, structures, with their rules and roles, forms and mechanics of control, impede the possibilities of expressions, especially expressions that emerge spontaneously from the everyday interactions and textures of community life. With their monocultures, driven by homogeneous logics of control and profiteering, structures see creativity as opportunities for consolidating power and control. Creativity is the next buzz word for drawing in investments and for fashionable product positioning. The scramble of authoritarian structures globally for the creative unique selling position is a good reflection  of this drive for creativity as a profitable resource, commoditized into instruments that can draw in financial opportunities. Creativity is targeted as a site of mana

The pedagogy of communication in the backdrop of the dramatic inequalities we witness across the globe has to be grounded in an ethic of the heart. How to build communicative practices that embody this ethic of the heart is the key question for culture-centered scholars working on social justice projects from/with the margins. The journey of culture-centered pedagogy begins with this realization: to address the global challenges we are in the midst of, communication has to be placed at the center. Not the forms of communication that simply serve as the loudspeakers for the 1%, but communication that is fundamentally transformative. Such transformative practices of communication begin by turning toward communities at the margins as entry points to discursive sites, discursive processes, and discursive articulations. Communication that begins not from the pre-determined agendas of those in power, but instead from the very margins that are reproduced by the consolidation of power

A culture-centered project is a journey in humility, an ongoing process of "learning to unlearn" the theories, concepts, and tools one has been taught to learn to excel in the academic pursuit of success. To listen to voices of communities at the margins of the social system of which the academic is a part, one has to look carefully at one's own position as an academic within this network of privilege. To look at and carefully examine one's own position is to acknowledge the confluence of structures that reproduce this privilege, the very structures that also produce under-privilege. What are my privileges, how have and how are these privileges produced, and how do I benefit from these privileges? How do my privileges produce under-privilege? In other words, privilege and under-privilege are two sides of the same coin. Because I am privileged, because I occupy a position of privilege, someone else is positioned as without privilege. In this sense, I as an a

Education in authoritarian systems reproduces the student as the disciplined subject, always ready to submit to the goals, techniques, and tools of authority. The ability to succeed in such a system is directly tied to one's compliance with the diktats of the system, subjecting the self through the strict and narrow regimens of everyday performance that are directly tied to the incentives one receives. The message that is passed on early in life is this: the greater your adherence to the rules and frameworks of the structure, the greater the number of opportunities that will be available to you. The high performing students in elite schools of authoritarian systems learn the techniques and strategies of performed consent through an intricate web of reward-and-punishment mechanisms. The student internalizes the diktat- get in line, follow the steps, and you will be rewarded; question the system, and you will be punished. Academia as a career is tied to incentives that are

As a foreigner, I am marked as the outside of the nation state. The space of regulated protest at Hong Lim Park has been quarantined, with identity checks. The barricades around the park will ensure that foreigners like me are outside of the designated space. The thinking goes somewhat like this: foreigners like me ought to have no interest in and influence on the social change processes within the nation state. We are here to contribute to the economy as productive migrants, not to have a voice in societal, cultural, and political processes. The barricade as a symbol is also a marker of the outside of the nation. The foreigner is a participant in the economic sphere of the nation and simultaneously excluded from the societal change processes within the nation. As an irony, the very idea of Pink Dot, "freedom to love," challenges the boundaries that are put up by markers of identity. Binaries such as citizen/foreigner are inverted by the invitation to freedom

Authoritarianism perpetuates its hegemonic power and control through the control over the narrative. Stories make up the bases of the regime's power. The reproduction of the regime is legitimated through the production of specific truth claims that form the narrative bases of the regime's rule. The regime tells stories that are central to its justifications of its repressive strategies. Stories of security threats. Stories of economic opportunity. Stories of transformation brought about through the power and control of the regime. The continuation of the power of the regime is enabled through the manufacturing of these specific narratives that form the bases for the various forms of control enacted by the regime.The consent of the subjects of the regime to its authoritarianism is sought and accomplished through the telling of stories of positive transformations brought about by the regime. The tools of repression are necessary at a violent time of the national hist