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A social movement scene is “a network of people who share a set of subcultural or countercultural beliefs, values, norms, and convictions as well as a network of physical spaces where members of that group are known to congregate” (Leach and Haunss 2009, p. 260, emphasis in the original). The purpose of this paper is to further develop theories of social movement scenes by examining the spatial dimensions of proximity, centrality, visibility, and accessibility, arguing that different scene configurations are shaped by gentrification processes.

This is an ethnographic study based on research conducted in Sweden over a five year period (2007-2012), including several summer research trips and a sustained fieldwork period of 14 months. Using snowball sampling, the author conducted semi-structured interviews with 38 activists involved in autonomous movement scenes. The author interviewed both men (n=26) and women (n=12) who ranged in age from 18 to 37, with most interviewees in their late 20s and early 30s.

Findings suggest that neighborhoods in the early stages of gentrification are most conducive to strong scenes. The author’s findings suggest that, while some of these conditions are locally specific, there were common structural conditions in each city, such as changes in the commercial landscape and housing tenure.

This paper contributes to the specificity of the concept of a social movement scene by presenting three spatial dimensions of scenes: centrality (relative to the Central Business District), concentration (clustering of scene places in one area of the city), and visibility (a visible presence communicated by signs and symbols). A second contribution of this paper is to offer a set of hypotheses about the urban conditions under which social movement scenes thrive (or fizzle).

Literature on social movements increasingly identifies everyday life as significant to understand political practices and activism. However, scholars have retained a major bias towards movement mobilisation and collective action, often relegating the everyday at the margins of social movements. While there have been notable exceptions, with studies of prefigurative activism and everyday practices of social change, they have usually focussed on alternative community spaces such as autonomous social centres and protest camps, and paid less attention to “ordinary” practices and spaces of activism. The purpose of this paper is to address these problems by suggesting that everyday life may be central to the production of activist spaces and the action of social movements.

Drawing upon ethnography methods, interviews with vegan activists, an on-line survey of supporters of vegan movements and an examination of on-line vegan forums, it seeks to analyse the practices of the vegan movement in France.

This paper attempts to demonstrate that prefigurative activism and seemingly banal practices may be central to strategies for social change. Drawing on an anarchist perspective on activism, it further suggests that activism and everyday life should not be studied in isolation from each other but as mutually constitutive in the creation of everyday alternative spaces – hemeratopias.

This paper adds to the literature on activism and social movements by offering a more complex picture of the spatial politics at work in social movements and a better understanding of individual action and mobilisation.

The news of recent mobilizations in Arab, European, and North-American countries quickly spread across the globe. Well before written reports analyzing the unfolding mobilizations, images of protests circulated widely through television channels, print newspapers, internet websites, and social media platforms. Pictures and videos of squares full of people protesting against their governments became the symbols of a new wave of contention that quickly spread from Tunisia to many other countries. Pictures and videos showing the gathering of people in Tahrir square (Egypt), Puerta del Sol (Spain), and Zuccotti Park (United States) quickly became vivid tools of “countervisuality” (Mirzoeff, 2011) that opposed the roaring grassroots political participation of hundreds of thousands people to the silent decisions taken in government and corporation buildings by small groups of politicians and managers. The presence, and relevance, of images in mobilizations of social movements is no novelty. Encounters with social movements have always been intrinsically tied to the visual sense. Activists articulate visual messages, their activities are represented in photos and video sequences, and they are ultimately rendered visible, or invisible, in the public sphere. Social movements produce and evoke images, either as a result of a planned, explicit, and strategic effort, or accidentally, in an unintended or undesired manner. At the same time, social movements are perceived by external actors and dispersed audiences via images which are produced both by themselves and others.

The rise of arts and culture is transforming citizen politics. Though new to many social scientists, this is a commonplace for many policy makers. We seek to overcome this divide by joining culture and the arts with classic concepts of political analysis. We offer an analytical framework incorporating the politics of cultural policy alongside the typical political and economic concerns. Our framework synthesizes several research streams that combine in global factors driving the articulation of culture into political/economic processes. The contexts of Toronto and Chicago are explored as both enhanced the arts dramatically, but Toronto engaged artists qua citizens, while Chicago did not.

This paper presents findings from an ethnographic study of Christian hip hop music performed and practiced in Central Texas. I examine the emerging Christian rap scene through the experiences of members of the local social group known as The 51210 Movement. The 51210 Movement includes various Christian rappers, singers, songwriters, musicians, producers, and sound technicians. Their activities center on the multiple uses of Christian rap within their local communities. The central Texas Christian rap scene is situated within the musically rich city of Austin, the “Live Music Capitol of the World,” and San Antonio, a culturally and religiously diverse city. I focus on how members of The 51210 Movement use Christian rap as a proselytizing and pedagogical tool, how Christian rappers work together to create a self-perpetuating Christian rap scene, and how members of The 51210 Movement negotiate the interplay between the sacred and secular forms of rap to maintain religious authenticity.

The purpose of this paper is to question the idea of “passing a test” within activist ethnography. Activist ethnography is an ethnographic engagement with social movement organizations as anti-authoritarian, anarchist, feminist and/or anti-racist collectives. It is based on the personal situating of the researcher within the field to avoid a replication of colonialist research dynamics. Addressing these concerns, we explore activist ethnography through feminist standpoint epistemologies and decolonial perspectives.

This paper draws on our two activist ethnographies conducted as PhD research in two distinct European cities with two different starting points. While Léa entered the field through her PhD research, Claire partly withdrew and re-entered as academic.

Even when activist researchers share the political positioning of the social movement they want to study, they still experience tests regarding their research methodology. As activists, they are accountable to their movement and experience – as most other activist – a constant threat of exclusion. In addition, activist networks are fractured along political lines, the test is therefore ongoing.

Our contribution is threefold. First, the understanding of tests within activist ethnography helps decolonizing ethnography. Being both the knower and the known, activist ethnographers reflect on the colonial and heterosexist history of ethnography which offers potentials to use ethnography in non-exploitative ways. Second, we conceive of activist ethnography as a prefigurative methodology, i.e. as an embedded activist practice, that should therefore answer to the same tests as any other practice of prefigurative movements: it should aim to enact here and now the type of society the movement reaches for. Finally, we argue that activist ethnography relies on and contribute to developing consciousness about the researcher’s political subjectivity.

Currently, urban social movement studies pay much attention to the emergence of ‘new’ anti-racist and post-colonial transnational urban protest networks and protest formations. Drawing on ethnographic research, I illustrate such developments with reference to autonomous/anarchist Left-wing urban protest in Vienna during the last decade. I thereby combine (Neo-)Marxist critical urban theory and the discursive and cultural studies' inspired approach of radical democracy. I argue that this perspective on urban protest allows for an integrated analysis of its material and discursive groundings. Such an approach would point to material/ist, spatial and cultural aspects of urban protest politics and could thus be fruitful for further discussion, political analysis and political action.

In this paper, the authors engage with embodied critical literacies through an exploration of the possibilities provided by the use of improvisational comedy (improv) in the classroom. The purpose of this paper is to extend understandings of critical literacy to consider how embodied critical literacy may be transformative for both individual students and classroom assemblages. The research question asks: how might improv, as an embodied literacy practice, open up spaces for critical literacy as embodied critical encounter in classroom assemblages?

The authors used case study methodology informed by post-qualitative research methods, and in particular, posthuman assemblage theory. Assemblage theory views the world as taking shape through the ever-shifting associations among human and more-than-human members of an assemblage. The case study took place in a sixth-grade classroom with 28 11-year-olds over a four-month period of time. Audio and video recordings provided the empirical materials for analysis. Using Bruno Latour’s three stages for rhizomatic analysis of an assemblage, the authors mapped the movements of participants in an assemblage; noted associations among those participants; and asked questions about the larger meanings of those associations.

In the sixth-grade classroom, the dynamic and emerging relations of the scene work and post-scene discussion animate some of the ways in which the practice of classroom improv can serve as a pedagogy that involves students in embodied critical literacy. In this paper, the authors are working with an understanding of critical literacy as embodied. In embodied critical literacy, the body becomes a resource for that attunes students to matters of critical importance through encounter. With this embodied attunement, transformation through critical literacy becomes a possibility.

The case study methodology used for this study allowed for a fine-grained analysis of a particular moment in one classroom. Because of this particularity, the findings of this study are not considered to be universally generalizable. However, educators may take the findings of this study and consider their application in their own contexts, whether that be the pedagogical context of a classroom or the context of the empirical study of language and literacy education. The concept of embodied literacies, while advocated in current literacy research, may not be easy to imagine, in terms of classroom practice. This paper provides an example of how embodied critical literacies might look, sound and unfold in a classroom setting. It also provides ideas for classroom teachers considering working with improv in their language arts classrooms.

The concept of embodied literacies, while advocated in current literacy research, may not be easy to imagine, in terms of classroom practice. This paper provides an example of how embodied critical literacies might look, sound and unfold in a classroom setting. It also provides ideas for classroom teachers considering working with improv in their language arts classrooms.

The authors argue that providing students with critical encounters is an important enterprise for 21st-century classrooms and improv is one means for doing so. As an embodied literacy practice, improv in the classroom teaches students to listen to/with other players in the improv scene, become attuned to their movements and move responsively with those players and the audience. It opens up spaces for critically reflecting on ways of being and doing, which, in turn, may inform students’ movements in further associations with each other both in class and outside the walls of their school.

In this paper, building on work conducted by Author 1, the authors extend traditional notions of critical literacy. The authors advocate for developing critical learning opportunities, such as classroom improv, which can actively engages students in critical encounter. In this vein, rather than viewing critical literacy as critical framing that requires distancing between the learner and the topic, the posthuman critical literacy the authors put forward engages the learner in connecting with others, reflecting on those relations, and in doing so, being transformed. That is, through critical encounter, rather than only enacting transformation on texts and/or material contexts, learners themselves are transformed.