Performing Left Populism

This interdisciplinary volume offers new insights into the connections between populism and performance. As a driving force of the contemporary left, the populist logic offers a way for progressive politics to radicalize actions against the elite, fostering greater democratization of societies at a time of socio-political and environmental crisis. Exploring the populist roots of a number of performances, the contributors to this study analyze the potentials and limits of the new forms of left populism for more democratic ways of living together. Combining performance studies and political theory, Performing Left Populism demonstrates how various performance practices give rise to populism. It shows how both civic performances (including grassroots, civil movements, political speeches, state policies and media campaigns) and artistic performances (such as theatre, dance, music and artistic activism) contribute to these processes. By these means, the book examines the processes of constructing 'a people' through both the real/civic and imaginary/artistic perspectives. Offering scholars and practitioners a thought-provoking analysis of the ways in which performance can be viewed politically, as a social practice capable of mobilizing alternative ways of living and invigorating democracy, this study expands the debate about left populism towards strategies of mobilization, collectivism and democratic politics.

This interdisciplinary volume offers new insights into the connections between populism and performance. As a driving force of the contemporary left, the populist logic offers a way for progressive politics to radicalize actions against the elite, fostering greater democratization of societies at a time of socio-political and environmental crisis. Exploring the populist roots of a number of performances, the contributors to this study analyze the potentials and limits of the new forms of left populism for more democratic ways of living together. Combining performance studies and political theory, Performing Left Populism demonstrates how various performance practices give rise to populism. It shows how both civic performances (including grassroots, civil movements, political speeches, state policies and media campaigns) and artistic performances (such as theatre, dance, music and artistic activism) contribute to these processes. By these means, the book examines the processes of constructing 'a people' through both the real/civic and imaginary/artistic perspectives. Offering scholars and practitioners a thought-provoking analysis of the ways in which performance can be viewed politically, as a social practice capable of mobilizing alternative ways of living and invigorating democracy, this study expands the debate about left populism towards strategies of mobilization, collectivism and democratic politics.

What is the “populist moment” and what does it mean for the left? We are currently witnessing in Western Europe a “populist moment” that signals the crisis of neoliberal hegemony. The central axis of the political conflict will be between right- and left-wing populism. By establishing a frontier between “the people” and “the oligarchy,” a left–populist strategy could bring together the manifold struggles against subordination, oppression and discrimination. This strategy acknowledges that democratic discourse plays a crucial role in the political imaginary of our societies. And through the construction of a collective will, mobilizing common affects in defence of equality and social justice, it will be possible to combat the xenophobic policies promoted by right-wing populism. In redrawing political frontiers, this “populist moment” points to a “return of the political” after years of postpolitics. A return may open the way for authoritarian solutions—through regimes that weaken liberal-democratic institutions—but it could also lead to a reaffirmation and extension of democratic values

This book conceptualizes left-wing populism as a combination of the populist impetus of expanding representation, through the appeal to "the people" against "the elites" and the agenda of the left to promote equality and social justice. This study undertakes an in-depth exploration into the concepts of sovereignty, class identity and "the people".

Populism is the key political phenomenon of the 21st century. From Trump to Brexit, from Chávez to Podemos, the term has been used to describe leaders, parties and movements across the globe who disrupt the status quo and speak in the name of ‘the people’ against ‘the elite’. Yet the term remains something of a puzzle: poorly understood, vaguely defined and, more often than not, used as a term of abuse. In this concise and engaging book, leading expert Benjamin Moffitt cuts through this confusion. Offering the first accessible introduction to populism as a core concept in political theory, he maps the different schools of thought on how to understand populism and explores how populism relates to some of the most important concepts at the heart of political debate today. He asks: what has populism got to do with nationalism and nativism? How does it intersect with socialism? Is it compatible with liberalism? And in the end, is populism a good or bad thing for democracy? This book is essential reading for anyone – from students and scholars to general readers alike – seeking to make sense of one the most important and controversial issues in the contemporary political landscape.

Once seen as a fringe phenomenon, populism is back. While some politicians and media outlets present it as dangerous to the U.S., Europe, and Latin America, others hail it as the fix for broken democracies. Not surprisingly, questions about populism abound. Does it really threaten democracy? Why the sudden rise in populism? And what are we talking about when we talk about "populism"? The Global Rise of Populism argues for the need to rethink this concept. While still based on the classic divide between "the people" and "the elite," populism's reliance on new media technologies, its shifting relationship to political representation, and its increasing ubiquity have seen it transform in nuanced ways that demand explaining. Benjamin Moffitt contends that populism is not one entity, but a political style that is performed, embodied, and enacted across different political and cultural contexts. This new understanding makes sense of populism in a time when media pervades political life, a sense of crisis prevails, and populism has gone truly global.

This book re-evaluates the role of performance in global politics in the face of populism and the digital mediatisation of political interactions. As political communications are increasingly conducted in online environments,‘post-truth’ performances become evermore central to democratic processes. It is therefore essential to reconsider the political potency of performance and theatricality in order to effectively reinvigorate democracy in the 21st century. Drawing on applied theatre practices, this book shows that performance is inherently concerned with cooperative and collaborative encounters across difference, and performance might therefore support effective responses to digital populism. The analysis addresses the performative aspects of populist political movements in the United States and United Kingdom. The chapters engage with aspects of performance and theatricality not commonly broached in IR scholarship, including interpersonal engagement, creative embodiment and interactive affect, making the case for the importance of these features to democratic engagement. This book resonates with recent debates regarding the relevance and treatment of Arts and Performance as IR subjects, methodologies and practices, and will be of interest to scholars and students of global politics, international relations, performance studies, radical democracy, and mass communication and culture.

There is a consensus that right, and left-wing populism is on the rise on both sides of the Atlantic, from Donald Trump in the United States, to Spain’s leftist Podemos. These may utilize different kinds of populist mobilizations but the fact remains that elite and mass opinion is fuelling a populist backlash. In Populism and Passions, twelve scholars engage with discourse analysis, democratic theory, and post structural political thought to study the political logic of passion for contemporary populism. Together these interdisciplinary essays demonstrate what emotional engagement implies for the spheres of politics and the social, and how it governs and mobilizes individuals. The volume presents: Theoretical and empirical implications for political analysis; Chapters on the current rise of populism, both right and left-wing trends, their different ideological features, and their relationship with the logic of passion; Theoretical implications for the future study of populism and democratic legitimacy. A timely analysis of this political phenomena in contemporary Western democracies, Populism and Passions is ideal for students and scholars in political theory, comparative politics, social theory, critical theory, cultural studies, and global studies.

Focusing on left populist movements in Spain and the US, this book uses the work of Polanyi, Laclau and Mouffe to analyse today's left populism. The book traces left movements from the early days of neoliberalism in the 1970s, through the landslides that followed the 2008 financial crisis and the post-2011 protest cycle, up to the present day.

Populism and Performance in the Bolivarian Revolution of Venezuela explains how supporters of the emergent socialism of Hugo Chávez negotiated terms of national belonging and participatory democracy through performance. By foregrounding populism as an embodied act, Angela Marino draws attention to repertoires of populism that contributed to what is arguably the most significant social movement in the Americas since the Cuban Revolution. Based on ethnographic and archival research, Marino focuses on performances of the devil figure, tracing this beloved trickster through religious fiestas, mid-century theater and film, and other media as it both antagonizes and unifies a movement against dictatorship and neoliberalism. She then demonstrates that performance became a vehicle through which cultural producers negotiated boundaries of inclusion and exclusion in ways that overcame the simplistic logic of good versus evil, us versus them. The result is a nuanced insight into the process of building political mobilization out of crisis and through monumental times of change. The book will interest readers of Latin American politics, cultural studies, political science, and performance studies by providing a vital record of the revolution, with valuable insights into its internal dynamics and lessons towards building a populist movement of the left in contentious times.