This Instagram statement from influencer Sister Shanti, "The controllers are actually not in control of anything and 'those in power' actually hold no power at all. It comes down to your participation and your compliance," rests on an extremely superficial understanding of power dynamics that the School of Disobedience seeks to unravel and challenge.
The illusion of powerlessness Sister Shanti's assertion attempts to reduce complex power structures to mere shadows, dismissing the very real impact of those who hold systemic power and the tools they wield to maintain it. The School of Disobedience urges us not to be lulled into complacency by such facile narratives. To claim that controllers "actually hold no power at all" is to ignore the lived realities of those oppressed by these systems. Power is not an illusion. It is a reality faced by millions across the world. Compliance and participation as dual forces While participation and compliance play roles in sustaining power, the statement oversimplifies the mechanisms of control. It places undue responsibility on individuals without acknowledging the intricate webs of influence that shape societal norms and behaviors. The School of Disobedience recognizes that compliance is often coerced, shaped by historical narratives, socio-economic conditions, and cultural pressures. Power is systemic, layered, and deeply entrenched. The complexity of power structures "Those in power" leverage institutions, media, economic structures, and cultural narratives to perpetuate their control. The School of Disobedience teaches us to discern these complex networks, understanding that power is not merely a matter of individual consent but of deeply embedded systems. It is not enough to simply say power does not exist when the apparatus of control is a sophisticated machinery of oppression. Power is not the mere absence of consent but the active presence of control mechanisms that operate through seemingly invisible yet omnipresent structures. A call to conscious disobedience channelled inward Instead of dismissing the idea of power altogether, we must engage in conscious disobedience—a radical rethinking of our roles within these structures. Our school empowers students to navigate these complexities, encouraging them to become architects of change who challenge the status quo with informed actions and creative resistance. Our journey towards disobedience is not just about acknowledging these power structures but transforming ourselves. This transformation requires introspection and courage—challenging internalized norms and biases, rejecting passive compliance, and actively seeking personal evolution. Only through a profound understanding of self and society can we begin to dismantle oppressive systems from within. The essential link between individual transformation and collective change Personal growth is essential for fostering a movement towards systemic change. The School of Disobedience highlights this connection, teaching students how inner change can influence broader societal dynamics and ultimately lead to profound collective transformations. In conclusion, the School of Disobedience rejects the notion that power is an illusion. Instead, we recognize its pervasive influence and challenge our students to engage with these realities critically. We seek to arm our students with the tools to understand, resist, and ultimately transform the structures that seek to control and define them. Let us not be deceived by simplistic assertions; true internal disobedience lies in recognizing and confronting the multifaceted nature of power.
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Azt hiszem engem nem az érdekel, hogy milyen ösztöndíjak vannak a piacon, hanem például hogy milyen más lehetőségei vannak egy mai magyar kortárs képzőművésznek arra, hogy konkrétan ne haljon éhen. Az ösztöndíj rendszer, mellesleg romokban, mellesleg egy szűk szekta kezében, egy-egy kivétellel, alamizsna, semmiképpen sem megoldás.
A pályázati rendszer egy iszonyú toxikus függőség. Egy drog, amire rászoktatják a művészeket, egy kiszolgáltatott helyzet, ami észre sem veszed milyen megalázó és hitvány. Amikor pályázol, és elfogadod, hogy a rendszer része leszel, tudd, hogy ezzel leginkább egy szűk réteg hatalmi pozícióját erősíted. Feletted. Ettől függetlenül nem a művészeket hibáztatom, értem miért pályáztok, én is volt, hogy pályáztam. De nem is a pályázati rendszert, hiszen maga a rendszer teljesen logikus, hogy létrejön, és ultra liberális kapitalista eszmével kapva kap művészek nyomorán. Én a művészetoktatási rendszert hibáztatom, amiért erre a cuccra szoktatja a diákokat. Amiért nem mutat nekik mást. Amiért megnyomorítja művészek önbecsülését egy demagóg, hazug retorikával. Amiért nem hisz a diákokban, és nem nyit ki előttük új kapukat! Nem az volna a dolga a jelenlegi művészetoktatási rendszernek, hogy ismerteti a diákokkal a létező pályázatokat, hanem hogy támogatja és bátorítja őket abban, hogy megtalálják a függetlenségük útját, segít nekik abban, hogy művészként hogyan tudnak a saját lábukra állni. A School of Disobedience ebben is más, hogy az akadémiával ellentétben nem a függőségre, hanem az önállóságra nevel! |
Author"I graduated from both ESSEC Business School and ENSAPC Art School in France. As a choreographer, cultural entrepreneur, and community activist, I harness the transformative power of art to build spaces, experiences, and communities. My artistic practice explores new poetic, fragile, and hybrid forms, spanning multiple mediums, including text, image, object, and movement. I create full-length dance pieces, short-format performances, immersive installations, multi-sensory community experiences. Over the past two decades, I've founded the School of Disobedience, established my own performance art company (Gray Box), and launched the annual Wildflowers Festival. I embrace everything unusual, unexpected, and nonconformist. I am not kind with assholes and have learned to forge my own path. I am here to guide you in thinking outside the box and achieving independence. To me, the real party is outside the confines of the established canon." Archives
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