I am rereading the essay “The Moral Equivalent of War” by William James. It, along with other sources, is deepening my resolve that now is a time for theatre artists to “go to war,” and that the first attack must be on the dehumanization of immigrants and refugees in this country and around the world.
In his essay, William James identifies historically that our human ancestors have bred aggression and the urge to fight, the urge to be in power into our bones. He argues that peace, in and of itself, could not breed it out of us in thousands of years. However, if examined more deeply, he also argues that this war-like need can be replaced with a system which satisfies the same type of call to arms as war does on a military level. In 1906 he stated:
Individuals …now feel this civic passion. It is only a question of blowing on the spark until the whole population gets incandescent, and on the ruins of the old morals of military honor, a stable system of morals of civic honor builds itself up. What the whole community comes to believe in grasps the individual as in a vise. The war-function has grasped us so far; but the constructive interests may some day seem no less imperative, and impose on the individual a hardly lighter burden.
James goes on to say about that burden that is “hardly lighter”:
that so many men, by mere accidents of birth and opportunity, should have a life of nothing else but toil and pain … this is capable of arousing indignation in reflective minds… It is but a question of time, of skillful propagandism, and of opinion-making men seizing historic opportunities… The only thing needed henceforward is to inflame the civic temper as past history has inflamed the military temper.
As far as I can see, we are now in the midst of that historic opportunity. And it is the obligation and responsibility of the theatre artist to do two things: 1) to do everything we can through community engaged work to rouse the indignation in reflective minds and 2) to skillfully use our art and talents as positive propaganda in order to expand the dialogue of our communities and shift opinion—to inflame the civic temper—on issues such as forced migration and refugees.
There is no doubt, when it comes to exploring social issues, that the list is never ending and there is much work to do in all areas. So why look first at the migration crisis? Because this crisis forces us to address our own humanity, our personal history, and connection. It demands the question of our ability to live together on this planet. And, because it results from so many other crises, it has no determined end. As reported in the Washington Post: “According to UNHCR, the UN's refugee agency, there are an unprecedented 65.3 million people around the world who have been forced from their homes—the largest such displacement ever measured by the organization. Of that overall figure, there are about 21.3 million people registered as refugees—that is, people who are in limbo outside the borders of their countries rather than internally displaced.” This is humanity’s new “normal” and, as a theatre artist and educator, I feel my obligation is to create opportunities to look deep into this horrific human narrative. And to bring others with me.
However, looking in and of itself is no longer enough. We now live in a world requiring activism.
To Create a Good Future
Sakyong Mipham Rinpoche who leads the Shambhala community has said “We humans have come to a crossroads in our history: we can either destroy the world or create a good future.”
Of course those of us who are sane would choose to create a good future. However we see now that willing and having passion for it are not enough. We need systems, methods, and structures that are reliable, replicable, and deliverable in order to be effective warriors right now in this fight for equity and peace. We theatre artists need to begin celebrating the Tribe of Man, offering our services to our community members to help guide them and ourselves toward a better understanding of our human capacity. To help change the civic opinion away from manipulated fear and toward reasoned, empathetic action. We need to create a hunger for intellectual curiosity and creative exploration and expression.
Over the last decade or so I’ve spent several years exploring programs and initiatives which experimented with various ways of relating to our audiences. In Florence, Italy, at Florence International Theatre Company, we offered productions with talkbacks, related pre-show events, conferences, and multi-disciplinary festivals to engage diverse communities with our work and messaging. This led to actively engaging individuals from the various communities in the heart of much of the creative work. But it wasn’t part of a directed strategy.
Following my return to the US, The Global Theatre Project was created as a response to my observation that Americans were not in touch with what was happening abroad and how they are effecting the lives of others around the globe. The idea was to create relationships and awareness. However that mission has evolved since we began. We no longer look at “them and us.” In recognizing we live in an interconnected world, we work to utilize the art of theatre to activate the experience of responsible and empathetic global citizenship explored and expressed in ways that create healthy community.
And that is where the question of a systematic strategy becomes vital and necessary in 2017. And where collaborative relationships with those outside of the arts, but deeply rooted in the community becomes imperative.
We have recently launched the initiative Creative Corps as an army of artist-activists who will work as Creative Leaders in their community. These artists will work not only to reflect the human condition, but along with that reflection offer alternatives for engagement with one another that will allow for healthy community to develop and thrive while recognizing its global connection. In order to do this effectively and with lasting impact, members of Creative Corps must involve organizations and institutions relevant to the project who hold important relationships with and information for the community.
An Explorer’s Desire
Although in the future members of Creative Corps will be free to pursue their own issues of passion with their community, we are launching this initiative with An Explorer’s Desire in order to both address the urgent migration crisis and to help solidify the method and process of what a Creative Corps project specifically is; to begin this effort connecting members around the world in a single cause and action, and to be able to more accurately test and assess the methodology.
An Explorer’s Desire began as a collaborative production between the cities of Los Angeles and Florence, Italy. I was interested in making the statement that no one country has “an immigration problem” and wanted to create a piece that demonstrated:
“It does not matter where you stem from,
or matter it not where you stem too.
The heart of the matter is we are all one
in a democracy of exploration.”
—An Explorer’s Desire, Bianca Bagatourian
We began this work in 2012. Much has changed since then. But the play—an accumulation of short pieces written by playwrights from two continents—offers the perfect foundation for a community-engaged theatrical event responsive to the world in which we are currently living. To reemphasize, we are not looking in 2017 to create a strong piece of theatre on the refugee crisis. We are exploring how to create a strong theatrical event which folds in the community toward self-reflection, communal dialogue, and action. We want to know how this process can help to expand and deepen the level of social conversation and action within a community both during the rehearsal process and the presentation—while at the same time bringing aspects of collaboration and support that enhance individuals and the community itself.
From Passive Observer to Active Participant
When I was a young woman I remember lying in the grass doing my first relaxation exercise and feeling that I understood the majesty of being alive. I wanted to share that with others through my acting. However, what I believe now is that having this experience ourselves and sharing it is no longer the job at hand. The job at hand is to wake that experience up in others. To lead them toward their fullest capacity of mind, heart and soul in action. We need to move them from the role of passive observer to active participant. Both at our theatrical offerings and in our world. And we need to do that for the sake of our future.
Currently, we are facing an attack on the creative and intellectual mind. The idea that there is such a thing as “alternative facts” or “fake news”; the lack of the ability of our society to hold discussions in grey areas; the polarization of our media; leadership that is telling us not to question; large percentage of daily “interaction” occurring online; all this forms a collective mindset which threatens to limit our ability for empathetic, connected society. This coupled with the efforts of the Republicans to eliminate the NEA and the NEH demonstrates that a call to arms right now is that much more crucial.
To that end, Creative Corps embraces the idea of the Whole Artist which we define as seven elements that encourage and nurture intellectually and creatively formed individuals, so that they can participate more fully in establishing healthy society. These seven elements are:
Passion (intimate alignment to subject matter)
Sensual Development (five senses involvement)
Connectivity (to others in group, those touched by subject matter, planet)
Hunger (for remaining in the gray area of learning and questioning)
Knowledge (socially expansive, politically questioning)
Courage (facing truths learned and seeking a deeper view)
We encourage the Creative Corps members to push themselves more deeply into these seven elements as well as guide all others involved throughout a three-stepped process:
Immersion of self and fellow artists into the subject.
Engaging youth and community members actively in the inquiry process (including identification of collaborative organizations).
Creating a theatrical event which: is the highest expression of artistic exploration; encourages participation in the community and the audience; educates, develops empathy and compassion, and invokes and inspires healthy discussion; activates the Whole Artist elements and offers an action opportunity to be carried forward.
All of this is done and shared as publicly as possible.
A Call to Arms for Peace
Lewis Mumford who wrote a great deal about utopias and social structure said “it is out of the vivid patterns of the artist’s ecstasy that he draws men together and gives them the vision to shape their lives and the destiny of their community anew.”
It is time for the theatre artist to actively, methodically, and strategically work within our communities to help guide humanity toward the steps necessary for peaceful cohabitation; to look at the world as we have created it and, through the experience of collective inquiry and creativity demonstrate the world as it can be. And we must begin by looking at the refugee crisis. We must work toward humanizing every person on this planet by sharing their stories and connecting our own. Through a process that acknowledges that there is not a single human being without a migratory legacy we can say to one another:
“Have a good trip, good tidings.
Have a great future without boundaries.
Have a great future respecting all cultures.
Peace be with you, with me, with us.”
—An Explorer’s Desire, Simcha Jelinek