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As a site of contestation among job seekers, workers, and managers, the bureaucratic workplace both reproduces and erodes occupational race segregation and racial status hierarchies. Much sociological research has examined the reproduction of racial inequality at work; however, little research has examined how desegregationist forces, including civil rights movement values, enter and permeate bureaucratic workplaces into the broader polity. Our purpose in this chapter is to introduce and typologize what we refer to as “occupational activism,” defined as socially transformative individual and collective action that is conducted and realized through an occupational role or occupational community. We empirically induce and present a typology from our study of the half-century-long, post-mobilization occupational careers of over 60 veterans of the nonviolent Nashville civil rights movement of the early 1960s. The fourfold typology of occupational activism is framed in the “new” sociology of work, which emphasizes the role of worker agency and activism in determining worker life chances, and in the “varieties of activism” perspective, which treats the typology as a coherent regime of activist roles in the dialogical diffusion of civil rights movement values into, within, and out of workplaces. We conclude with a research agenda on how bureaucratic workplaces nurture and stymie occupational activism as a racially desegregationist force at work and in the broader polity.

The popular uprising (Aragalaya) combined a protest movement with a movement towards commons or a solidarity economy. The popular uprising from March to August 2022 was a reaction to the authoritarian heteropatriarchal Rajapaksa regime, which drained public revenues instigating an economic crisis. The Aragalaya was based on non-violence, independence from political parties, participatory democracy, collective leadership, politico-aesthetic strategies (art activism) and collective learning. While there were multiple contradictions, along with state repression, the Aragalaya expressed new forms of solidarity, strengthening struggles for democracy and citizenship.

Purpose – This paper extends research on social movement media by focusing on the use of a literary genre – realist fiction – namely, the labor problem novel in the context of the labor movement and countermovement in late 19th-century America.

Methodology – I do a close reading of a significant early dialogical cluster of such novels to address three key questions: (1) Field position of authors – What was the position of these labor problem authors in relation to the movement field and literary field and how did that positioning matter? (2) Genre selection – What was it about the realist novel that attracted labor problem partisans to it? (3) Internal content – How did authors shape the internal structure and content of their stories?

Findings – As literary activists, authors pivoted between the movement field and literary field selecting the novel for the special powers that it possessed relative to other historically available media. Authors produced stories with a good/evil binary attached to characters that stood for emerging social categories in young industrial America. During the Gilded Age (and beyond) the novel played an important role as medium for the labor movement and its opposition – characterizing collective actors, dramatizing forms of action, providing materials for claims of injustice or threats, solutions to social problems, and new categories and collective identities – all with powerful emotional appeal and entertainment value.

Implications – This study suggests that social movement scholars might expand their purview of cultural media used by movements and also take genre and its selection by activists seriously.

Originality – This study demonstrates how literature – realist fiction – has been shaped by movement agents and played an important, but under-appreciated, role in the struggle over cultural supremacy in the context of movement–countermovement dynamics.

Handler's genealogy of postmodernism recounted in his address recognizes its origin in aesthetic disciplines and its somewhat viral transcription into social jurisprudence: “the postmodern concept of subversion developed first in language and literary theory, art, and architecture and then spread into politics and law” (1992a, p. 698). Although Handler's rejection of deconstruction stems from what he sees to be its political quiescence, its association with aesthetic critiques of modernism haunts his claims as one source of its essential conservatism. Aesthetic values, he implies, remain distant or distinct from pressing issues of political and social inequality.

The recent wave of protests on courts and fields all over the world has brought increased attention to the potential of sport to address social justice. Basketball in particular has been the subject of both celebration and outrage. Building off the theorizing of sport as a contested space, we examine the work of three artists/artist collectives; Abigail Smithson, Maria Molteni and New Craft Artists in Action, and Noah Cohan and John Early of Whereas Hoops, who have all directly engaged with the basketball court as a site filled with cultural meaning and struggle. All three of the respective bodies of work were developed in the past 10 years and emerge from the heightened social and racial tension of the time, as well as the increasingly apparent link between sports, politics, and race within our larger society. Examining the work reveals the importance of the basketball court as a site simultaneously of celebration, play, surveillance, policing, community, history, cultural exchange, and racialization. We explore the potential for artists to engage with and transform sport spaces through an edited group interview, giving the artists the chance to reflect on their practices as well as the limitations of working as an activist and artist in the realm of sports in their own words. Through conversation, the chapter focuses not just on finished pieces of art but also on the process of making the work in the ever familiar and culturally rich environment of the basketball court.