Specifics of the British Regime

Regime Change Az Theatre 2

Having focused for some years on projects with an international dimension, I decided earlier this year (2016) to turn my attention to what was happening in the UK. A lot of talk during the Iraq invasion and the 2011 popular uprisings in Tunisia, Egypt and elsewhere was about the idea of ‘regime change’. I set out to see what this might mean here. What was the story of the UK regime? My research took me back to what I considered to be its founding moments in the revolutionary movements of the English Civil War (1641-1660) whose final act might be considered to be the constitutional settlement of 1688. I was setting out to create theatre but I knew it might take a long time. I have started writing drama but also I am accompanying this work with a blog that would outline my thinking as the project moved forward.

Specifics of the British Regime

A regime is a set of organisational processes that come together at a particular place at a particular time. We can imagine that they are like components or practices or institutions or even images.  Some combining factor arises on the basis of local human settlement that holds together a particular version of human society.  What holds a social formation in place is not separate from the elements that, in one way or another, give it a constitution.  It is difficult to come to terms with the nature of this entity which in our imagination can appear to be like a body, a culture, a machine or a system.  In social theory it can be called ‘an imaginary’ (1) or an ‘assemblage’ (2) though I don’t want to ignore the distinctions between these different theoretical notions.

The roots of a regime appear to be in geography or ecology:  these people living on this particular part of the earth at a particular point in time, a variation on, and in interaction with, the human species.

So what account can be given of the one that has arisen on the British Isles.  We cannot be as definite about the time-scale as we can about the location.

The British Isles are relatively easy to identify on a map though the borders between the different nations may not be obvious. England describes the area of the main island that was subject to the Roman invasion of 2000 years ago.  All other major migrations or invasions have been determined by its frontiers.  The domination by London of England, and by England of the British Isles, is due to the extraordinary harbourage offered by the Thames estuary. This is a significant determinant of the regime

As for time-scale, the present determines the way we look at the past. So, for example, if we were facing the extinction of human life on these islands we would tend to start our story with the arrival of human beings here after the last ice age some 11,700 years ago.  However, at the moment, there are more human beings living here than there have ever been.

What is happening now and to what initial processes is our attention drawn?

In general terms, we are witnessing tensions in relations between the nations that make up the British State, between the role of financial services and manufacturing and between the London and the ‘provinces’.  There are uncertainties about the two party system and the role of political parties, also about the nature of the House of Lords.  The military function of the British State has been radically called into question by the inquiries into the ‘war’ on Iraq. This last may be inextricably tied to British dependence on the United States and this offers another underlying tension.

The institutional components that were drawn together in the period after the English Revolution of 1641-1660, particularly in the period leading up to the settlement of 1688, appear to be those that are in crisis now.

The success of London as a capital was focused on finance and banking. There were the networking benefits and the medium term assurances of a centralised intermarrying ruling elite, enhancing trust and contractual security, that connected landed wealth with mercantile enterprise.  This nexus was centred in London. The relationship of government to the imperialist commercially-driven military expansion, crucially organised through the formation of the Bank of England (1694), sealed the advantages of a communications structure that focused on the royal court but wasn’t dominated by it.

Within 20 years of the foundation of the bank the new regime had fought a successful war against the French in North America and Europe, climaxing with the Treaty of Utrecht (1714), had unified Scotland with England and Wales (1707) and had secured the Hanoverian protestant succession and began to construct ‘British’ identity.

Anglican Protestantism offered the basis for a unique national ‘loyalty’ test as well as an ethos suited to capitalism. The unique combination of a monarchic head of state who was both the military commander-in-chief as well as head of the Church of England fastened and refined the regime-building project. The ideological underpinning of a state religion sustained the new regime through the first founding period until, for example, in the earliest years if the 19th century, the need to avow the protestant religion as well as allegiance to the monarch for members of the volunteer militia was dispensed with

The fertile ground made up of financial fluency, protestantism and co-ordinated military and commercial enterprise bred a functioning and compelling model of the human in the figure of the English gentleman and this gave personality and moral coherence to the regime.

War as a profitable venture and as a ‘keynote’ national unifier has played a unique role throughout, from Blenhiem (1704), to Waterloo (1815), to the Somme (1915), to Dunkirk (1940), to D-day (1944), to the Falklands (1982) and to Iraq (2003).  Apart from the massive destruction of the Blitz the wars have always been fought elsewhere. This doesn’t diminish the loss of life and the concentration of production effort.

The country was never invaded and therefore never faced the decisive crises that invasion brings.  Victory was something that was brought home and delivered rather than fought for at home.  This distinguishes the history of the British Isles since 1066 from most other locations.

The development of the British regime has at its core the development of the British state.  State-making and war-making are synchronous. (3) The effect on the administration and style of government of the ‘seniority’ of the British Navy, rather than the continental ‘army’-based regimes is considerable.  The sustained coherence of the British ‘officer’ class in delivering ‘successful’ military adventures abroad has, up until recently, been formative for the regime.

I am only intending here to give some broad and general markers or headings of where my research has taken me. The books that have been central are Britons by Linda Colley (4) and The Enchanted Glass by Tom Nairn (5).

Notes:

(1) This term was developed by Greek French philosopher Castoriades see The Imaginary Institution of Society [IIS] (trans. Kathleen Blamey). MIT Press, Cambridge 1997 [1987]. 432 pp. ISBN 0-262-53155-0. (pb.)

(2) This term was developed in Deleuze and Gattari’s A Thousand Plateaux see Deleuze, Gilles; Guattari, Félix (1993). A Thousand Plateaus. Minneapolis: University of Minnesota Press. pp. 14, 26–38, 135–139, 149–166, 195, 198, 235–236, 240, 241, 259, 390, 534, 539, 559. ISBN 0-8166-1402-4.

(3) See the work of Charles Tilly 

(4) Colley, Linda Britons, Forging the Nation 1707-1837 Yale University Press 1992

(5) Nairn, Tom  The Enchanted Glass, Britain and its monarchy Century Hutchinson 1988

Is regime change like a paradigm shift

Regime Change Az Theatre

Having focused for some years on projects with an international dimension, I decided earlier this year (2016) to turn my attention to what was happening in the UK. A lot of talk during the Iraq invasion and the 2011 popular uprisings in Tunisia, Egypt and elsewhere was about the idea of ‘regime change’. I set out to see what this might mean here. What was the story of the UK regime? My research took me back to what I considered to be its founding moments in the revolutionary movements of the English Civil War (1641-1660) whose final act might be considered to be the constitutional settlement of 1688. I was setting out to create theatre but I knew it might take a long time. I have started writing drama but also I am accompanying this work with a blog that would outline my thinking as the project moved forward.

 

Is regime change like a paradigm shift?

The human being’s desire for justice seems unquestionable. It is an aspect of our behaviour at the earliest stages of our lives. We assert on our own part and on the part of others the need for things to be fair and for nobody to be left out. It’s only later that we recognise that there are limits to what is available, that sufficiency is acceptable, and that the world’s resources have, to some extent, already been allocated.

You never know what is really going on inside other people’s heads. The most deceptive thoughts, those that arise from objective observation, are those that appear to be obvious. It is difficult to believe that people really do have a different way of thinking about themselves, though, of course, this is evident in clear differences of behaviour and preferences.

One is never quite sure whether human differences come from different life circumstances or whether there are what might be described as deeper more essential characteristics that determine how we are in the world. The estimation of the impress on the human being of early experience, from the moment of birth or before, is a matter of conjecture but has to be taken into account, an account that adds to the issue of nature versus nurture that of the unconscious and repression.

Given this complexity, it is easy to see how difficult it is likely to be for human beings to come up with social structures that accord with those early aspirations for justice. The observation that human beings are characteristically rational and political is met almost simultaneously by the observation that they are mimetic (1) and that this latter quality is more powerful because it is unconscious and irrational.

Human groups are more likely to gain cohesion due to the deliberate or spontaneous occurrence of fear than loving rational agreement. This would seem to suggest that fear makes more sense. It resonates at many different levels of experience. For example, the experience of our own deep vulnerability as infants, our dependence on our immediate kin relations, the contradiction between the encouragement given to be self-sufficient and the constant affirmation of our dependence on others, the rivalry that is engendered by the needs of survival, the development of splitting between good and bad, edible and inedible, friend and enemy all contribute to the effectiveness of fear.

Although there have been attempts to form groups and institutions that have strategies to countervail this ‘fear’ tendency, at a certain moment of their development they can be successfully influenced by rivalrous structures and become, through various defensive/protective and conformist impulses, thoroughly infected by ‘fear’. This is generally evidenced by the growth of hierarchy.

The problem of human organisation touched on here becomes exacerbated by the size of the human group. For relatively short periods of time, selfless, loving behaviour can be sustained by small human groups. There seems to be an inverse relationship between the size of the group and the prolongation of cohesion brought about by feelings other than fear.

In the recent period of human history, there have been examples of mass participation in social transformation in France, Russia and China. But the problem has been that in the last instance the liberation from oppression has been militarised and the new arising social forms have been displaced by older ‘fear-based’ structures.

The general pattern of movement in human social construction has been determined by human productivity. Capitalism, the accumulation and investment of social surplus according to private ownership, has been technologically expeditious and massively productive but the social structures, for which it has successively laid the basis, have been problematic. This is to do with the contradiction between private benefit and public good.

The very large units of production and distribution that have begun to dwarf human political organisation have placed it in a position of dangerous subservience. Political states have themselves come to resemble corporate entities whose role in the human system is to supply cheap labour and to provide consumption services.

The danger to human life mainly lies in the inability of human governmental organisation to react responsibly to the ecological consequences of the activities of corporate entities.

There has never been a prolonged process of political control that has regulated and limited economic activity.

Usually, the ruling group are the richest sector of society and they find themselves unable or unwilling to limit their own wealth. More often they are building institutions to communicate how their enrichment is good for everybody.

The world faces unprecedented problems due to the development of productivity and it may be an act of faith to suppose that humanity will come up with an, as yet unimaginable, solution. The signs are not encouraging.

Human beings can comprehend very large social units but they are not able to easily imagine them creatively nor find ways of working coherently with them.

There are theories that reckon the number (150) of human beings with whom a human being can maintain a stable relationship (2). Also, there are credible ideas about how larger human groups are held together because they are ‘imagined’ (3). There are people who have studied smaller non-family groups who have postulated ‘basic assumption’ as the determining structure (4).

Although in our daily lives we constantly project onto larger group from observation of individuals and small group behaviour, there is no reason to be sure that humans in large groups are substantially different from humans in small groups.

There are ways of looking at the particular biology and physiology of human beings and coming up with ideas about our social development. Physiology can tell us about the high complexity of the interrelationship between our brain and our activity making us creatures who are ‘intentional’.(5) Also, our vulnerability during the first years of our life exacts protective social structures.

Wisdom seems to lie in the view that human society is itself a manifestation of what human beings indeed are, in all its variety and difference. There is no theoretical formulation or set of ideas that can be generally true of human beings. This view doesn’t really help to understand change or to offer any helpful hints to those who think change may be a good idea.

It is very difficult to escape the observation that, in the last instance, the forms of human society derive from the ways in which human beings come into relationship with one another in the course of producing those things or circumstances that they deem to be desirable and necessary.

This basic thinking influenced and supported the only real alternative to capitalism that has ever been offered.

Our problems lie in our inability to institute a way of distributing wealth and resources that accords with justice. Capitalist organisation pushes for the reduction of cost of the production of all goods. This goes for the products that make up the productive infrastructure itself. The cheap production of human labour (or labour power) is balanced only by the generation of demand for goods amongst the masses of people. The state’s role in this provision under globalised, financialised, predatory capitalism is clear. It is for this reason that the modernisation project of capitalism has genocidal tendencies (6). In other words, it can only hold itself together by creating a ‘war’ against ‘the other’. This is a transposition of the competitive impulse. At the same time, the state must conceal this process in order to maintain its credibility.

This means that the modern state constantly appears to offer something that it cannot deliver. It thus absorbs social energy and in so doing protects the system which gives it its structures. The state is a transitional human structure which in the current period is a conduit for social change and an obstacle to it.

Movements and institutions that are not completely absorbed into the state structures may unblock the contradictory situation of the state. Social movements cannot be totally separate from state institutions so there may be hybrid organisations that maintain their tone as social movements and do not become completely organised into the political party structure.

What seems to be needed is something similar to a paradigm shift. (7) However, this phrase has been used in a very restricted meaning for revolutions in science. The idea of paradigm has two aspects. One is a sense of the interconnectedness of a whole system or world. Two is the particular ‘example’ that has a prevalence in a given system or world. In Kuhn’s theory of scientific revolution, the idea of paradigm is connected to the idea of ‘anomaly’. Credibility deteriorating because of the accumulation of anomalies in the political scene, at one level, has a very different feel than the process that happens in the scientific community. For a paradigm shift to gather momentum and become a new ‘common sense’ might happen as a consequence of the mimesis that holds traditional social structures in place.

It’s very difficult to predict. The oncoming human revolution will take a different form from previous revolutions. It is really no longer possible to envisage change happening in one country and then being ‘spread’ by means of various strategies, mostly military, as has been experienced so far in recent human history. Also, it is no longer possible to see change being delivered through a single electoral system.

This is what makes what is happening in the Labour Party so emblematic. It is a crisis in the identity and functioning of a political party.(8)

I have set out to understand a story of the development of a regime and tried to follow this logic through as if the end of this regime would in some way be ‘like’ its beginning. In other words, we would see the elements that came into being at the beginning of the regime there in a deteriorating condition at the end.

This would be as if this political entity had a kind of life-cycle rather like that of an individual animal. This cannot be the case. It is a metaphor. Likewise the idea that a particularly population, a species, may undergo extinction because the ecosystem of which it is a component no longer provides the material support, the carrying capacity, for its continued existence is another similar case, a metaphor.

These metaphors have provisional truths. The particular circumstances, geographical position, soil quality, river systems, raw materials (wood, tin, iron, coal), particular beneficiary productive impact of migratory regimes (Romans, Saxons et al., Normans) that led eventually to the basis for the current regime here in the UK were brought together by a political form that could unite various nations within one state and create a unique form of imaginary national identity (9), would not necessarily reveal themselves in a critical condition as this regime comes to an end. However, it has to be said that some of these initial features do show up.

The instance of human development on these islands is a complex and interconnected version of human development in general. Particularly in this instance where so many productive, military and political forms have been exported there has been an almost unfathomably complex interaction between the development here and human development globally. So what will happen here will not be isolated, though ironically it may be for short periods (10). This will not be an even process. This is because it will be influenced by external as well as internal movements.

 

(1) Mimesis. The idea that human beings are mimetic beings belngs to Aristotle but the development of this theory in the modern period has been at the centre of the work of Philosophical Anthropologist, Rene Girard see his Violence and the Sacred (Grasset Paris 1972: John Hopkins University Press 1977)

(2) 150 is known as Dunbar’s Number. Robin Dunbar was an evolutionary anthropologist. see Dunbar, R.I.M. (June 1992). “Neocortex size as a constraint on group size in primates“. Journal of Human Evolution. 22 (6): 469–493. doi:10.1016/0047-2484(92)90081-J

(3) See Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, London: Verso (1983).

(4) See Experiences in Groups and other papers W. R. Bion Tavistock London 1961)

(5) See Man on his Nature Charles Sherrington Penguin London 1940. Sherrington was a professor of Physiology at University of Oxford

(6) See Genocide as Social Practice by Daniel Feierstein Rutgers 2014. Feierstein is an Argentinian social scientist and is Director of the Centre for Genocide Studies in Argentina. He asserts: ‘Genocide is endemic to modernity’

(7) See The Structure of Scientific Revolutions by Thomas S.Kuhn University of Chicago 1962.

(8) This refers to the struggle over the leadership of British Labour Party current at the time of writing.

(9) See The Enchanted Glass by Tom Nairn Radius London 1988.

(10) This refers to the Brexit vote recent to the time of writing

 

 

 

 

 

mappa mundi introduction

Before you read the background documents to Az Theatre’s mappa mundi you might want to find out a little more about the project.


mappa mundi is an online interactive map collecting a patchwork of crowd-sourced drama videos that enable people to share their change with the world

It inspires participant groups to create drama videos based on stories of human change in relation to economic and environmental change through downloadable playtexts or drama workshop programmes. Mappa mundi collects the videos together online to form an interactive map.

This ends up as a collective work that becomes a touring exhibition.

mappa mundi is an adventure in people-power creativity expressing the great transition of our times.

Look at the appeal for participantsmappamundiparticpantappeal5

Go to the Az Theatre blog about the development of mappa mundi

Welcome to Az Theatre’s blog

There are occasional Az Theatre blogs that update people about various events and developments.

There are two main sequences from the past that may interest you:

The complete set of ‘blog from Gaza’ is now available here. During the war on Gaza in 2014 Hossam Madhoun and others there kept up a constant flow of messages.

The blog forms a graphic testimony to the experiences of people during a devastating military attack.  There are 34 messages sent between 18th June 2014 ‘What a surprise! Gaza Under attack!’ and 5th October 2014  ‘No bullets or blood, just pain’.  This was happening while Theatre for Everybody and Az Theatre were launching their collaboration on the premier Arabic stage version of Tolstoy’s ‘War and Peace’

Read the mappa mundi blogs here.  From August to October 2012 Jonathan Chadwick wrote 20 blog pieces about the development of this innovative drama video project.

As well as tracking the development of mappa mundi the blogs reflect on questions of knowledge, transition and models of change

Welcome to Az Theatre’s new website

This is Az Theatre’s new website.  It has been in development for some time and revises the way Az presents itself to the world with a new mission statement and a new simpler way of displaying our activities. We can make better and quicker changes to content through the WordPress system and it links more effectively with our blog. We are deeply grateful to the wonderful Emma Sangster who has seen through these changes. And to our friendly, ethical, super-sensitive service providers Netuxo.

Here’s what’s happening at Az.

In London we are establishing a group of young people who can work with us to make a creative exchange with the group of young people in Gaza that Theatre for Everybody is working with.  Our best chance so far of doing this is working with a group of alumni from the Islington Community Theatre.  This company is now called Company Three.  Find out about it.

Our work with the Islington Centre for Refugees and Migrants has paused over the summer after the climactic closing sessions when we were working on Bob Marley’s epic COMING IN FROM THE COLD.  This followed a wonderful concert on July 3 2016 at the church in Cross Street that the Centre uses as its base.  This presentation featured songs, the lyrics of which were written during Sita Bramachari and Jane Ray’s writing and art classes.  These lyrics were put to music by Romain Malan who runs the singing sessions and they were performed at the event by the singing group from the classes accompanied by the World Harmony Orchestra. This was the World Premiere for these songs and for the Orchestra.  Read about the work at the Centre.

Progress is also ongoing on the various production projects here in the UK.

Meanwhile in Gaza, Theatre for Everybody are preparing for the full production of their new Arabic adaptation of Tolstoy’s War and Peace.  We are working to produce this with Theatre for Everybody.  Zoe Lafferty is working with Az to create the financial and production infrastructure for this challenging project.  You can keep in touch with Theatre for Everybody through Facebook

That’s the latest news from Az Theatre.

 

 

Theatre For Everybody and GAZA DRAMA LONG TERM who are they and what is it

THEATRE FOR EVERYBODY

Jamal Al Rozzi and Hossam Madhoun are the Directors of Theatre for Everybody with whom Az Theatre have a ten-year (2009-2019) cultural exchange partnership.  The current phase involves working with a group of 18-30 year olds in Gaza on drama and creative writing and the production of an original contemporary stage adaptation of Tolstoy’s War and Peace. Plus a workshop in London of international artists, including Jamal and Hossam.  This will be based on the extract from the meditation by John Donne that begins: ‘No man is an island’ so we are calling this the NO (HU)MAN IS AN ISLAND workshop. (more about this below)

What is GAZA DRAMA LONG TERM?

Our exchange partnership is called GAZA DRAMA LONG TERM. It developed from Az Theatre’s WAR STORIES project which worked with companies from Algeria, Palestine, Serbia, Kosovo, Italy and the UK and at theatre festivals in Romania and Turkey from 2002 to 2007, supported by the European Cultural Foundation and the Arts Council England.

It set out to create cultural exchange between artists and audiences in Gaza and London, to break down isolation and cultivate solidarity and to do so through creative work.  It has created a model of participatory production and has refused to seek support from any government organisation.

GAZA DRAMA LONG TERM has generated work in four phases since 2009: GAZA GUERNICA, GAZA: BREATHING SPACE, GAZA OPENING SIGNS and WAR & PEACE: GAZA (PALESTINE)/LONDON (UK).  It has organised numerous public events in the UK some of which have connected live with Gaza through Skype.

It has been supported by financial contributions from 100s of individuals and over 50 UK theatre artists (including Harriet Walter, David Calder, Maggie Steed, Tara Fitzgerald, David Lan, Jennie Stoller, Philip Arditti, Deborah Findlay, Caryl Churchill, Hassan Abdulrazzak and many more) have made creative contributions and appeared in person at our events that have attracted 100s and 100s of audience members.  It has worked with over a hundred young people in Gaza and has explored theatre for those with hearing disability there and in London as well as linking theatre talent in both places.

It has engaged with London venues: Rich Mix, Soho Theatre and the Globe Theatre and has received support from International Committee for Artists Freedom, International Performers Aid Trust, British Shalom Salaam Trust,  Street Theatre Workshop. It has worked alongside Culture and Conflict, the Shake! Community from Platform Arts.

We are looking for a group of young people here in the UK to make an exchange with the young people there who have come together around and activist journalist project: We Are Not Numbers.  And we are looking for funds to do the War and Peace production and the NO (HU)MAN IS AN ISLAND workshop.

The NO (HU)MAN IS AN ISLAND workshop

A six-day workshop bringing together international stage artists with members of the Theatre for Everybody group from Gaza.

This is a key stage in the ten-year GAZA DRAMA LONG TERM project (2009-2019), a cultural exchange partnership between Az Theatre London and Theatre for Everybody Gaza.

The NO (HU)MAN IS AN ISLAND workshop is planned to happen in London in January 2017 and will offer audiences one or two presentations of work created and devised by the 10 participants directed by Jonathan Chadwick.

The aims of the workshop will be to:

Provide a creative interaction for the artists from Gaza, to meet and work with artists from the UK and other regions
Create as wide an access for audiences in the UK to this major international cultural exchange project.
Provide the GAZA DRAMA LONG TERM project partners with the opportunity to develop plans for the closing phase of the project within an inspirational context.
Act as the central event for the artists from Gaza to meet other groups and individuals who have supported the work (International Committee for Artists Freedom, British Shalom Salaam Trust, International Performers Aid Trust)
Work with other institutions and organisations (e.g. University of Manchester IN PLACE OF WAR project, University of Coventry Centre for Trust, Peace and Social Relations, British Actors Equity, British Arab Centre) to offer a platform for them to share experiences of working, living and creating theatre in Gaza.

UNFORESEEN news 19/10/2015

UNFORESEEN – WAR STORIES ENCORE – GAZA/LONDON is happening at Rich Mix London on Sunday 24th January.  Read more about this event: unforeseen2

We are building the company of actors who will take part.  We are inviting Arthur Nazaryan from Yerevan, Armenia and Reyhan Ozdilek from Istanbul, Turkey to join us, both of whom Jonathan Chadwick worked with earlier in the year in Istanbul.  The following UK-based artists will join us (subject to availability):  Harriet Walter, Joe Kloska, Nahar Ramadan, Zaydun Khalaf, Tom Chadwick.

Jonathan Chadwick will be attending the Corner in the World Festival in Istanbul between 23rd October and 28th October to link up with Turkish and Syrian artists who worked on the Armenian-Turkish partnership project, THE BRIDGE, earlier in the year.