Parliamentary Abdications: 1933 and 1940

A review of Ruling Oneself Out: A Theory of Collective Abdications, Ivan Ermakoff, Duke University Press, 2008.

Ruling Oneself OutHow can a majority of parliamentarians vote to renounce democracy? Why would a group accept its own debasement and, in doing so, abdicate its capacity for self-preservation? What induces them not only to surrender power, but also to legitimize this surrender by a vote? Which conjuncture allowed democratically elected officials to rule themselves out and allow authoritarian leaders to take full control? This sad reversal of fortune happened on two occasions in the twentieth century. On 23 March 1933, less than one month after the burning of the Reichstag, German parliamentarians gathered at the Kroll Opera House in Berlin passed a bill enabling Hitler to concentrate all powers in his own hands by a majority of 444 to 94, meeting the two-third majority required for any constitutional change. On the afternoon of 10 July 1940, at the Grand Casino in Vichy, a great majority of French deputies and senators—569 parliamentarians, about 85 percent of those who took part in the vote—endorsed a bill that vested Marshal Pétain with full powers, including authorization to draft a new constitution. In these two cases, abdication was sanctioned by an explicit decision—a vote. Both cases gave authoritarian leaders all powers to sideline parliament, suspend the republican constitution, and rule by decree. Both 23 March 1933 and 10 July 1940 are dates which live on in infamy in Germany and in France. As soon as the events occurred, they were to haunt the elected officials who took part in the decision. To borrow Ivan Ermakoff’s words, these were “decisions that people make in a mist of darkness, the darkness of their own motivations, the darkness of those who confront and challenge them, and the darkness of what the future has in store.” Can we shed light on this darkness?

History and context

History is the discipline of context, and it explains an event by putting it into a broader frame. But how much context does a historian need, and how far back is one to investigate to put an historical event into a proper frame? In Ruling Oneself Out, Ermakoff chose to explain the handing over of state powers to Hitler and to Pétain by staying as close to the event as possible. He takes as chronological points of departure the German presidential election of 1932 and the French declaration of war in September 1939, giving a short summary of Germany’s descent into political chaos and France’s ignominious defeat. He concentrates on the moment of decision within the two national parliaments by making a blow-by-blow narrative of those two fateful days, trying to enter the minds of rank-and-file parliamentarians and to account for their every motions and expressions. This is different from the historian’s point of view which usually goes farther back in time and tries to put an event into a causal chain of explaining variables and historical determinants. For instance, in a historical essay written on the spur of the moment, Marc Bloch explained France’s “Strange Defeat” (L’Étrange Défaite) by listing all the personal failings and strategic mistakes made by political and military leaders during the interwar period. German historians have interpreted the rise of Nazism as a “belated post-scriptum” (ein spätes Postskriptum) to the cultural conflict (Kulturkampf) between German Catholics and the central state inaugurated by Bismark’s antichurch policies in 1871, or as the expression of a Sonderweg some see going as far back as Luther’s Reformation. Ermakoff’s goal is not to provide a historical account of the two events but to build a theoretical model, a “theory of collective abdications” that may apply, beyond the two cases of parliamentary suicide, to a broad class of collective situations and outcomes.

In the empirical sciences, and especially for the formal lenses of decision theory, context should be reduced to a minimum. The scientist builds a theoretical model and tests it on a constructed dataset, keeping as close as possible to a controlled experiment. Ermakoff’s study is context-rich and steeped in empirical detail. For him, abstracting the event from its historical context is a crucial mistake. The sources he uses for his enquiry are narrative accounts produced by the actors themselves. These testimonies are either contemporary or retrospective, spontaneous or in response to a request, public stances or private accounts. Especially letters and diaries written immediately after the facts are very helpful to debunk ex post rationalizations. They allow to reconstruct actors’ subjective states as they made their decisions. But all testimonies include a form of self-justification and self-deception. The actors rationalized their decision by portraying it as the only viable and acceptable course of action. The tactical reasons the delegates invoke for themselves are self-serving and often betray a willingness to deceive oneself. As Jean-Paul Sartre has shown, the consciousness with which we generally consider our surroundings is different from our reflecting on this consciousness. The historian has to dig deeper if he wants to examine actors in the process of making their decisions. He has to rely on a range of analytical tools—formal, quantitative, and hermeneutic— and apply them to a variety of historical sources. The theory he offers is primarily a theory of the case. Its scope is limited to the confines of the two historical events. No single determination or macrocausal explanation can account for the result of the two parliamentary votes. The outcome was not predetermined; events could have turned differently. The parliamentary votes of abdication were the end result of a process by which parliamentarians based their opinions on the behavior and declarations of their peers. The collective understanding of a situation is dependent on a series of interactions. In confining the analysis to the moment of decision, both theory and history gain in intelligibility and leverage.

Fear of retaliation, misjudgment, ideological contamination

Ermakoff starts by rejecting the three standard explanations for political acquiescence during these two fateful days: fear, blindness, or treason. Delegates who participated in the decision, and historians after them, argued that they made their choice because they were coerced; because they were deceived; or because they were complicit. The coercion thesis portrays abdication as a forced choice. Miscalculation calls into question the assumption that target actors correctly assess the implications and significance of their decision. Collusion lifts the hypothesis that the challenger and the target actors have conflicting interests. Each explanation holds a degree of validity. Threats and intimidation were certainly present in the context of 1933 Germany. Nazi thugs harassed their opponents with seeming impunity. On the day of the vote, several thousand Nazi activists demonstrated outside the Kroll Opera House, where the parliamentarian session took place. In the meeting room they filled the banks reserved for external observers. In France, the country was under the direct threat of an occupying army, and rumors of latent menaces also suffused the political climate. A vote of no confidence would have entailed Pétain’s resignation and a leap into the abyss. But when so much is at stake, actors can always choose to disregard the threats that are deployed against them. As Ermakoff underscores, they can decide to challenge the odds. At the final moment, the decision is theirs. Likewise, the explanation that abdication was based on misjudgement takes actors’ most common retrospective justification at face value. But Hitler’s intentions were clear for all people to see, and in France Pétain’s mouthpiece Pierre Laval had made it clear that a “yes” vote would mean an end to democracy and the republican regime. Besides, the coercion and the misjudgment arguments miss the fact that the two votes were by no means unanimous. Some parliamentarians took a stand and opposed the delegation of full powers to a single man. In Germany, the Social Democratic delegation unanimously voted against the bill. Despite all appearances in retrospect, acquiescence in March 1933 and July 1940 was not a foregone conclusion.

The third scenario, ideological collusion, takes the deterministic argument to its extreme. Nazism’s rise to power is sometimes interpreted as a result of a class alliance between the ruling elite and Hitler’s party in order to thwart communism and secure the interests of the capitalist owners of production. Similarly, the Vichy vote is seen as a conservative revenge against the Front Populaire that had won the elections and implemented labor-friendly policies in 1936. More generally, the period saw the commitment to democratic institutions dwindle, becoming either tenuous or dubious. German Catholic leaders, it is argued, surrendered to Hitler because they were not entirely immune to an antiliberal frame of mind and an organicist conception of the nation. In France, class-based motivations for a political revenge went along with a rejection of the political regime that had made military defeat possible. According to historian Robert Paxton, “there was no resistance simply because no one wanted to resist.” There is a degree of truth in this argument. Parliamentarians who voted “yes” to Hitler and to Pétain failed in their role to uphold the constitution and maintain democratic institutions. They gave the transition to an authoritarian regime the appearance of legality because they abdicated their political capacity. From a legal perspective, they had no right to give a constitutional blank check to Hitler and to Pétain. Lack of personal courage was ultimately the reason for the delegates’ acquiescence. But accusing a majority of parliamentarians of treason or dereliction of duty misses the point. The social scientist’s role is to interpret and to explain, not to judge or to vindicate. A more fine-grained approach to the mechanics of decision is needed.

Decision under stress

Another line of argument points to the irrational forces at play during the decision process. Delegates were under maximum pressure. Wild rumors were circulating. Fear and anguish spread like a disease. On February 28, the day after the burning of the Reichstag, Hitler had issued an emergency decree “for the protection of the people and the state” that abolished basic civil rights conferred by the Constitution. Germany was veering toward total chaos and civil war. Likewise, France after the defeat was totally disorganized. In Vichy, where authorities had gathered after a chaotic escape away from the advancing German troops, everything had to be improvised. The breakdown of parliamentary groups made interactions more random, more hectic, more informal, less structured, and less predictable than in routine times. In such circumstances, social scientists often emphasize the irrationality of crowds, herd behavior, panic movements, and contagion effects. The collective behavior of a disorganized group can influence people to act a certain way or lose their responsibility. Ermakoff agrees that the explanatory key to the outcome is to be found in the collective dimension of the decision. The focus should be on a collective process of decision making. Diffusion effects and the modeling of interactions should take centerstage, for in situations of radical uncertainty people tend to turn toward their peers to shape their own expectations. Yet what gets diffused is less an emotional state than a strategic assessment of the situation. Contagion, the diffusion of an affective state, is a misleading representation of group behavior, for it implies that the process is purely emotional, affective, and mechanical. Even if the process is nonlinear and the result suboptimal, there is no need to resort to the irrationality of crowds and to abandon the hypothesis of rational behavior.

The crucial factor underlying collective abdications were not threats, blindness, or ideological propensities but the dynamics of expectation formation that took shape among delegates in a context of radical uncertainty and as traditional coordination mechanisms had broken down. Witnessing their world crumbling, delegates turned their eyes to their peers. But they did not know where these peers stood. This situation is a classical setting in game theory, decision science, or empirical finance. And indeed, Ermakoff mobilizes many concepts from these disciplines. His theory of collective abdication builds on the three notions of sequential alignment, local knowledge, and tacit coordination, and uses concepts such as reference groups, prominent actors, action thresholds, tipping points, and common knowledge. Traditional historians may shy away at the evocation of these abstract notions, and may even recoil in horror at the sight of a book’s appendix full of equations and graphs. But Ruling Oneself Out is not a book written for theory’s sake, and its narrational structure remains faithful to disciplinary standards in historiography. It refers to many books written by historians on the two events, and particularly to Robert Paxton’s Vichy France. Historians will be on familiar ground, as game theory or decision science are only mobilized to interpret the historical narrative and analyze data. This sociology to the event stands in stark contrast to the cumbersome constructions of social scientists who only use empirical evidence to advance their theoretical claims. Sociology remains a historical science and cannot abstract itself from its temporal condition in order to offer an abstract modeling of social systems. Here, formal tools and abstract theories remain at the service of explaining the facts.

When democracies fail

Ruling Oneself Out offers many valuable lessons for today’s social scientists and committed citizens. The choice to concentrate on two episodes when democracies surrendered on their own free will is significant: it shows in particular that the failure of democracies was not a preordained conclusion. Things could have turned differently. Historical outcomes are not the result of deterministic forces and collective interests: individual decisions matter. And so does politics. In particular, parliamentarians are bestowed with a great burden of responsibility and accountability. Their decisions can make or break a constitutional order. They are the guardians of the democratic temple, and their failure in protecting the sacred treasure that they have in charge can have dramatic consequences. Ermakoff also offers a lesson in applied social science, or historical sociology. He used the best conceptual tools available at his time, without falling into the trap of theory fetishism of math graph envy. His book combines various methods of analysis, both qualitative and quantitative, which are rarely used together. It remains an historical account of two significant events, in which the lay reader will learn a lot. In this perspective, theory and evidence should go hand in hand. Being faithful to “how things actually happened,” to take Leopold von Ranke’s definition of history, does not imply a rejection of formal models or theoretical constructions. The role of parliaments offer a particularly rich material for theoretically inclined social scientists. Parliaments’ archives contain a trove of empirical data, both textual and statistical. They are open to the public, and easily lend themselves to participant observation or ethnographic work. A young French sociologist, Etienne Ollion, has recently published a book on the functioning of the French National Assembly using state-of-the-art narrative techniques and quantitative tools, including statistical techniques derived from artificial intelligence. I hope his book, Les candidats, gets translated into English.

Coding and Decoding

A review of Code: From Information Theory to French Theory, Bernard Dionysius Geoghegan, Duke University Press, 2023.

CodeIs there a pathway that goes “from information theory to French Theory”? Straying away from the familiar itineraries of intellectual history, Bernard Dionysius Geoghegan invites us to take a path less trodden: a detour that allows the reader to revisit famous milestones in the development of cybernetics and digital media, and to connect them to scholarly debates stemming from fields of study as distant as structural anthropology, family therapy, and literary semiology. Detours and shortcuts are deviations from linear progression, reminding the traveler that there is no one best way to reach a point of destination. Similarly, there are several ways to read this book. One is to start from the beginning, and proceed until the end, from the birth of communication science during the Progressive Era in the United States to the heydays of French seminars in sciences humaines in the Quartier latin before mai 68. Another way is to start from the conclusion, “Coding Today”, and to read the whole book in reverse order as a genealogy of the cultural analytics used today by big data specialists and modern codifiers of culture. A third approach would be to start from the fifth and last chapter on “Cybernetics and French Theory” and to see how casting cultural objects in terms of codes, structures, and signifiers relates to previous methodologies of treating communication as information, signals, and patterns. The common point of these three approaches to reading Code is to emphasize the crossing of boundaries: disciplinary boundaries between technical sciences and the humanities; political demarcations between social engineering and cultural critique; and transatlantic borders between North America and France. The gallery of scientists and intellectuals that the book summons is reflective of this broad sweep: Norbert Wiener, Warren Weaver, Margaret Mead, Gregory Bateson, Claude Lévi-Strauss, Roman Jakobson, Jacques Lacan, Roland Barthes, and Luce Irigaray are seldom assembled in a single essay; yet this is the challenge that Code raises, inviting us to hold together disciplines and methodologies that are usually kept separate.

The empire of code 

Let’s start from the present and move it from there. “Coding” now mostly means writing lines of code or computer software using a programming language such as JavaScript, Python, or C++. Codes can also designate social norms or cultural imperatives governing acceptable behavior in a certain context or within a subgroup. To “know the codes” means to be able to navigate a certain social world without committing blunders or impropriety. Of course, social scientists have taught us that social rules are best obeyed when one is not conscious of their imperium. Social norms must become embodied knowledge to be played spontaneously, and the best performance has the charm and immediacy of the natural, the innate, the unrehearsed. Culture cannot be recitated as a learned lesson or a set of rules. When social life is reduced to a system of codes, decontextualized from its rich background and reformatted for transnational circulation, then it becomes a simulacrum. This is why we should worry about the extension of the domain of the norm that is fueled by the twin forces of globalization and digital technologies. We are witnessing the weakening of the notion of culture, once thought of as a set of evidences shared and anchored in a territory, and today reduced to a corpus of explicit norms and cultural markers, which circulate on a global scale. The crisis in culture that Hannah Arendt diagnosed in 1961 has now given way to culture’s opposite: the reign of the explicit, the quantified, the normative. The disappearance of high culture as a shared implicit within territorial and social boundaries gives way to the sequencing of small bits of cultural content that are recombined to form a marketized commodity, as in UNESCO’s heritage list of intangible assets. These packets of texts and images circulate through networks that separate them from their point of origin and delivers them to the right place. If the network changes, due to congestion or broken links, routers can use an alternative interface to reach destination. 

There is a growing disconnect between the territory in which we live and the cultural references that we manipulate. National or religious identity is redefined as a set of cultural markers and signs of belonging that are decomposed and recomposed into new individual selves that are both unique and interchangeable. Coding implies normativity. We need new norms and regulation because things that seemed obvious, at least within a given cultural space, are no longer so. If everything is open to discussion and contestation, then we must make the rules explicit and as detailed as possible. This codification of social practice considerably reduces inner spaces of freedom and nonnormativity: the intimate, the private, the unconscious. Normativeness is the consequence of coding, the passage to the explicit, the quantification of affects. A grammar, for example, is a code and when we make a mistake, we are corrected. Contrary to language, code is acquired by apprenticeship or formal training: one must know the rules to practice coding, whereas it is not necessary to know grammar to practice a language. Coding follows a model of communication that makes each term explicit, where the receiver understands exactly what the emitter wants to say. This applies to social interactions, where what was previously left unsaid now needs to be specified, and even to the use of language, with the spread of global English and the standardization of public expression. In a multicultural context, it is recommended to speak as clearly as possible without using allusions, cultural references, and humor. The spread of artificial intelligence and chatbots will only reinforce this trend: in order to make ourselves understood by machines, or to allow machines to communicate between themselves, we must separate language from culture and minimize the noise generated through the process of encoding and decoding. 

The age of the seminar

This becoming-code of all cultural contents and social interactions has a long history. A surprising milestone in the advent of code is to be found in the works of philosophers, literary critics, and semioticians that are sometimes bundled together in the United States under the label of “French Theory.” Coding and decoding were definitely code words in French intellectual discussions during the 1960s and 1970s. “Assez décodé !” (Stop decoding/stop fooling around) was the title of a popular essay in 1978 that took aim at Roland Barthes’ new literary criticism and the abuse of technical jargon. Geoghegan identifies the 1960s as the period when “culture as communication” gave way to a preoccupation with “culture as code.” Cybernetics and information theory acted as both model and test bed for this transformation. They were part of a broader trend of social transformation based on the import of American technologies and institutions to fit postwar France’s condition. Techniques of management and human engineering were adopted en masse by an increasingly technocratic France. Funding from American foundations, tracing back to fortunes accumulated by robber barons and with links to the Cold War intelligence apparatus, supported the creation of research institutions that set new modes of organizing critical inquiry in the humanities and social sciences. A new research center and central forum for teaching social sciences was created within the Ecole pratique des hautes études as the “sixième section,” better known as the Ecole des hautes études en sciences sociales or EHESS. It modeled aspects of its study program on the social sciences in the United States, distancing itself from previous modes of scholarly organization in French universities. Its scope was resolutely transdisciplinary and experimental.  It pioneered the use of statistical methods and mathematical models in the humanities. Indeed, there is a book to be written on the fascination, some would say the math envy, exerted by mathematics and formal science on French social scientists as diverse as Claude Lévi-Strauss, Pierre Bourdieu, and Jacques Lacan. One locus for such collaboration was Lévi-Strauss’s research seminar on the utilization of mathematics in the social sciences,  which let to long-lasting interdisciplinary collaboration between scientists and social critics.

The research seminar thus became a key site for the clinical analysis of the human condition, remote from the elegant discussions in cafés and salons that previously exemplified intellectual authority in France. The seminar was the domain of the expert, the specialist, the fieldworker. It displayed science in the making, and opened its ranks to any social scientist who had new research results to share, regardless of academic position or social authority. Later on, Michel Foucault would label this new kind of postwar thinker a “specific intellectual” whose political responsibility was akin to that of the “nuclear scientist, computer expert, and pharmacologist.” Structuralism imposed itself as the dominant paradigm, with its emphasis on codes, systems, communication, economy, and even informatics patterning of signs. The promise of scientific precision and far-reaching advances attracted younger scholars eager to chart bold yet rigorous programs in emerging research areas. Human sciences as envisioned by Claude Lévi-Strauss had one great aim: “the consolidation of social anthropology, economics, and linguistics into one great field, that of communication.” In particular, “social anthropology,” he wrote, “can hope to benefit from the immense prospects opened up to linguistics itself, through the application of mathematical reasoning to the study of phenomena of communication.” Lévi-Strauss was an enthusiastic reader of Shannon and Weaver’s Mathematical Theory of Communication (1949). One of his early papers on the relevance of cybernetics on linguistics argued that engineering models of communication could be transposed onto all other fields of human activity, including linguistics, economic transactions, and the circulation of women within primitive systems of kinship. Through the 1950s, Lévi-Strauss sought to establish a physical infrastructure equal to the tasks of his emerging structural anthropology. His ascension to a chair at the Collège de France in 1960, and his concomitant establishment of the Laboratory of Social Anthropology, presented him with the long-sought opportunity to establish a research laboratory. One of his first initiatives was to acquire a copy of the Human Relations Area Files, a searchable database of two million index cards compiling ethnographic findings. Vast regimes of human data were disassembled into informational units for cross-cultural analysis. They were part of a global apparatus of knowledge that, paradoxically, unmoored cultures from local and embodied reality. Headquartered in Paris, UNESCO offered an early vehicle for bringing these new political techniques to the world.

Back to the future

Code insists on the transatlantic origins of the dominant paradigm in the sciences humaines, both institutionally and in terms of substance. The history of structuralism and poststructuralism has often been told, with an emphasis on the John Hopkins conference of 1966 that spearheaded the reception of French contemporary thought in North America. Here Geoghegan goes further back in time to highlight the way European nascent human sciences were incorporated into emerging logics of US communication science during World War II. As war swept Europe, the Rockefeller Foundation mobilized to bring threatened European intellectuals under the umbrella of US wartime science. An early recruit was Russian-born linguist Roman Jakobson, who founded the Linguistic Circle of New York in 1943 as a successor to the celebrated Prague Linguistic Circle, mixing structural linguistics initiated by the Swiss linguist Ferdinand de Saussure with diverse insights from fields including Russian formalism, avant-garde art such as futurism and cubism, and relativity theory developed in atomic physics. For Saussure, language was like a game of chess: one did not simply speak but selected from among a field of possibilities prefigured by formal constraints and anticipated threats. With Jakobson, language became probabilistic and combinatoric, ordered on principles that followed the direction of cybernetics and communication science. Much as Warren Weaver and Claude Shannon used probabilistic sequences to predict series of words, phrases, and sentences, Jakobson described phonemes as probabilistically encoded and decoded series. Another Rockefeller foundation initiative was the establishment of the Ecole libre des hautes études in New York, which recruited Claude Lévi-Strauss but declined to support Jacques Lacan. Under Jakobson’s influence, Lévi-Strauss ceased to study the empirical facts of indigenous kinship and focused instead on the relations among terms that constituted a kinship system proper. With the aid of a French mathematician, he even found algebraic expressions for his kinship studies. The linguistics seminar Jakobson and Lévi-Strauss held at the Ecole libre made a field trip to AT&T headquarters to witness the performance of the Voder, a synthetic speaking device, in 1944. According to Geoghegan, the Ecole Libre was a methodological crucible, nudging French scholars away from a concern for social equality and redirecting them in technocratic directions. As he remarks, “this was indeed a strategy of political transformation of the sort that would become a pillar of American ‘nation building’ in decades to come.”

The last thesis proposed by Geoghegan—or the first if you follow the book order, from chapter one to chapter five—, is that cybernetics wasn’t an invention of World War II and the Cold War, as science historians sometimes assume. Code shows that “links among the Rockefeller, Macy, and Carnegie philanthropies forged in the 1930s and 1940s, well before the United States’ entry into World War II, guided subsequent initiatives in cybernetics, information theory, and game theory.” The roots of the project lie in Progressive Era technocracy and its agenda to transform social strife into communication engineering problems available for technical problem-solving. Welfare policies, not warfare, were the test bed for the rise of the communication sciences, and its first deployments were to be found in the colony, the clinic, the asylum, and the urban ghetto. As Geoghegan observes, “dreams of cybernetic post-humanism depended on disappearing the bodies of native persons and other subjects regarded as less than human.” Anthropologists Ruth Benedict and Margaret Mead thought that all existing human cultures were distributed along a great “arc” which covered the whole range of possible cultural traits. Each culture then selects along this arc a “pattern” of human possibilities that fits its environment and forms a coherent whole. After his pathbreaking master degree thesis that laid the groundwork of information theory, Claude Shannon’s PhD dissertation, completed in 1940, applied Boolean algebra to the orderly processing of eugenic data. The celebrated Macy Conferences on Cybernetics, initially convened in 1942, brought together mathematicians, anthropologists, engineers, and scientists from other disciplines, and popularized notions such as reflexivity, feedback loops, and error correction mechanisms. Scientific networks cultivated in the 1930s and consolidated in wartime military projects laid the foundation for interdisciplinary communication projects well into the 1950s.

Return to sender

There is a tendency to downplay the links between the natural sciences and the dominant paradigms in the humanities. This book show that the history of the human sciences in the twentieth century cannot be separated from the rise of the communication sciences. Fields such as anthropology, psychology, and semiotics served as experimental laboratories for the engineering of a society of digital media and codified culture. Far from trailing behind engineers and natural scientists, human scientists spearheaded the reconceptualization of cultural forms as forms of code that could be decomposed and recombined using mathematical tools. Efforts to transform the humanities and social sciences into a single field, the human sciences, oriented toward communication, cannot be separated from the rise of scientific philanthropy. The Rockefeller Foundation and a host of like-minded philanthropies funded by robber barons (e.g., the Ford Foundation; the Josiah Macy Jr. Foundation; the Wenner-Gren Foundation) lavished generous funding on interdisciplinary research linked to research programs inspired by cybernetics and information theory. Their midcentury interest in these fields reflected progressive hopes to submit divisive political issues for neutral technical analysis. The long-standing aim of American philanthropies to reorient the humanities toward exact, quantifying, empirical, and rule-governed theoretical analysis found fertile ground in postwar France. Even if we should use the expression “French Theory” with caution, there was a theoretical impetus toward formalization, even a “math envy,” that shaped the dominant paradigms of structuralism and poststructuralism. A cybernetic turn of mind influenced French structuralists’ talk of codes, systems, and communication. While Barthes’s contrarian attitude or Lacan’s extravagant vocabulary carried a critique of technocratic rule, their seminars fit within the period’s emphasis on experts, codification, and structures. Their effort to remake French thought also ended up remaking American thought along the way. If we summarize the standard model of communication as a message sent by an addresser to an addressee through a channel involving operations of coding and decoding, the development of French Theory on American campuses was a case of return to sender.

The Creative City, From Providence, Rhode Island, to Hanoi, Vietnam

A review of The Creative Underclass: Youth, Race, and the Gentrifying City, Tyler Denmead, Duke University Press, 2019.

The Creative UnderclassI want to use Tyler Denmead’s book as an opportunity to reflect on my past experience as director of Institut Français du Vietnam, a network of four cultural centers supported by the French Ministry of Foreign Affairs in Hanoi, Ho Chi Minh City, Danang, and Hue. On the face of it, our situations could not have been more different. I was a mid-career diplomat posted as cultural counsellor at the French Embassy in Hanoi for a four-year assignment. My roadmap for managing the culture centers was simple and laid down in a few words: engage youth, be creative, and balance your budget. Tyler Denmead was the founder and director of New Urban Arts, an arts and humanities studio primarily for your people of color from working-class and low-income backgrounds in Providence, Rhode Island. Coming back to the arts studio as a PhD student doing participatory observation, he comes to realize he has been a mere instrument in the city’s program of revitalization through culture, unwittingly supporting a process of gentrification and eviction of the ethnic minorities he was supposed to empower through cultural activities and economic opportunities in the creative economy. No two cities can be further apart than Hanoi, Vietnam, and Providence, Rhode Island. And yet there are some commonalities between the two. They were both labelled “Creative Cities” and implemented strategies of economic revitalization through cultural activities. They both faced the forces of gentrification, land speculation, urban renewal, and the challenge of dealing with former industrial facilities and brownfields. New Urban Arts and the Institute Français in Hanoi were both tasked with the same missions of engaging youth, expanding access to culture, building skills, and securing public and private support. And, as directors of cultural institutions, we were both entangled in contradictions and dilemma that put our class position and ethnic privilege into question.

Revitalization through culture

Richard Florida is the urban theorist who is credited with coining the term “the creative class”. Visiting Providence in Rhode Island in 2003, he celebrated the city’s future as a creative hub. Successive mayors embarked on a program of urban renewal, rebranding Providence as a “Renaissance City” or a “Creative Capital”. Revitalizing post-industrial cities through arts, culture, and creativity has been a standard script since the 1990s. The conventional strategy includes a marketing and public relation campaign to rebrand the city’s image; supporting and promoting cultural assets including arts organizations, festivals, and cultural events; reshaping abandoned factories and warehouses into cultural spaces; and providing tax incentives to redevelop property into locations of historical, aesthetic, and economic value. According to Florida, Providence exported too much of its college-educated talent from Brown University and Rhode Island School of Design, or RISD. He thus advocated for strategies to retain young creatives from these highly selective and private universities by offering incentives to launch dynamic start-ups and host cultural events, thus attracting inward investment, tourism, and additional creative workers. In retrospect, the strategy has been a failure. In his reassessment of Providence’s future as a creative city, Florida recognized that these programs have only exacerbated urban inequalities without creating lasting economic or social value. He noted that technology has been the region weak spot and has failed to provide “real jobs” for young people in local industries. Providence’s new growth strategy now focuses on technology startups, business incubators, and quality of life. Providence now ranks as number 15 in the list of “Best Cities to Found a Startup Outside Silicon Valley and New York” and also boasts itself as one of the “10 Best Cities to Raise Kids in America.”

Tyler Denmead uses critical race theory to show that the color blindness of “creativity” dissimulates the ways in which the creative city reproduces and reinforces racial and class inequality. There is a long tradition of criticizing urban policies by exposing their racial underpinnings. James Baldwin in the 1960s described “urban renewal” as just another word for state-sponsored “negro removal” as he examined change in San Francisco at the time. And bell hooks, writing in the 1990s, described these urban renewal projects as “state-orchestrated, racialized class warfare (which) is taking place all around the United States.” Denmead’s expression, the “creative underclass”, is meant as a bridge between Florida’s “creative class” and the term “underclass”, which in the American context has often been used to explain poverty through cultural deprivation. His mission in New Urban Arts was to transform Providence’s “troubled youth,” meaning young people from ethnic minorities and low-income backgrounds, into “creative youth” equipped with the skills and talent to seize job opportunities in the creative economy. He leveraged public support for engaging teenagers and young adults in cultural activities such as art mentoring and poetry writing, even while arts education was being suppressed from the curriculum of Providence’s public schools and welfare support to poor families was being eroded. Most of the state subsidies under the creative city program were channelled toward real estate development and the restoration of old industrial buildings, fueling land speculation and gentrification. Through the promotion of a bohemian lifestyle, young people from the creative underclass were encouraged to choose to live in poverty, inhabiting abandoned warehouses and taking low-wage service jobs in the hope of gaining popularity and recognition in the white hipster scene. But there were very few “real job” opportunities for those who did not want to become “starving artists,” and public efforts to attract media companies or high-tech business activities proved ineffective. In the end, according to the author, the creative city only supports “a brand of capitalism that has legitimized the erosion of support for those who are poor.”

The Creative City

Hanoi, the capital of Vietnam, also stakes its future development on culture and the creative economy. It has been admitted in 2019 in UNESCO’s Creative Cities Network, and has identified creativity as a strategic element for sustainable urban development. Home to 7.9 million people, the political capital of Vietnam has gone through several attempts to rebrand itself. It was granted the “City of Peace” title by UNESCO in 1999, and has built on this image to position itself as a hub for international political events, such as the APEC Summit in 2006, the East Asia Summit in 2010, the World Economic Forum on ASEAN in 2018, and the second DPRK-US Summit in February 2019. The thousandth anniversary of the foundation of the capital (then named Thang Long) by the emperor Ly Thai To was the occasion of major celebrations in 2010, insisting on the city’s long history and its tradition of resistance against foreign aggression. Faced with the economic might of Ho Chi Minh City (former Saigon) in the south and the entrepreneurial spirit of Danang in central Vietnam, Hanoi can play on its distinctiveness as an ancient capital of culture, national politics, and higher education. The Creative City strategy insists on several dimensions: architecture and urban heritage, handicraft and craft villages, traditional cuisine and gastronomy, and ancient arts preserved and performed with new style. The main French cultural center in Vietnam was located in Hanoi. The French institutes in Danang and Hue were of smaller scale and focused mostly on teaching French, while the French institute in Ho Chi Minh City operated from the precinct of the French Consulate General, using outside facilities (including a residence for artists, Villa Saigon) to stage cultural events and festivals.

L’Espace, the flagship building of the French cultural presence in Hanoi, was located in the historic central district that was at the core of the city’s urban renewal strategy. Only one block away from the early twentieth century’s opera house, next to the five-star Hôtel Métropole that attracted rich tourists through a cultivated image of colonial chic, the French cultural center was a landmark location in Hanoi’s cultural life. Artists remembered having given their first concert on its stage or displayed their first solo exhibition in its art gallery. They also kept a fond memory of the lectures and intellectual debates organized in its book library, or of the French language classes that offered a window to the outside world and a prized ticket for studying abroad. When I became cultural counsellor at the French Embassy, the Hanoi center was still very active: its language classes were fully packed, its concerts and cultural events well frequented, and its aura as a showcase of French culture and lifestyle still intact. New activities such as pop concerts, hip-hop tournaments, street art exhibitions, or technology displays attracted a younger generation and encouraged collaborations between French and Vietnamese artists. But its finance were in dire straits: the yearly rental charge was regularly adjusted upward to keep pace with the rise in the property market; advertising events through Facebook and other communication channels cost money; and salaries had to be paid to the dedicated local staff and the native teachers of French. A vast public of middle-class families coming to the central district for their weekend stroll just passed us by, with little interest for French culture and low budgets to devote to cultural or educational activities. For L’Espace, the Covid epidemic was the coup de grâce: priced out of the real estate market, the center was forced to relocate its French language classes and student orientation offices in a less prestigious location, and lost its ability to host cultural events on its own stage or gallery.

France’s cultural policy in Vietnam

We campaigned hard to convince local authorities and private sponsors that subsidizing cultural activities was in their best interest. We found a sympathetic ear in the person of the city mayor, who offered the district’s central plaza for a two-day outdoor festival of French culture and gastronomy. French culture still has a good image in Vietnam: France is seen as a romantic location for tourism, a country with a rich heritage and glamorous lifestyle, and a prime destination for studying abroad. French food and wine obtain high rankings, and French luxury brands dominate the market. But only a small minority of Vietnamese people have the financial means and educated tastes to indulge in such proclivities. For younger generations with lower budgets and more familiar longings, South Korea and its culture proves the most attractive. The Korean wave has hit Vietnam in full swing, and young Vietnamese are passionate about K-pop, Korean drama, kimchi, and K-fashion and cosmetics. France simply cannot compete with this attractiveness primarily led by private actors and mediated by the digital economy. Instead, France’s main selling point is to be found in cultural heritage. French colonial history has left a deep imprint in Vietnam, from city planning and architecture to baguette bread and loanwords taken from the French language. Vietnamese leaders are eager to solicit French expertise to help them reclaim and showcase their own cultural heritage, from the recent past to ancient history. City-to-city cooperation and French government’s support have helped preserve and promote Hanoi’s Old Quarter and its Thang Long Citadel, building on France’s long experience in heritage preservation. The same goes with the city of Hue, Vietnam’s ancient capital and the cradle of Vietnamese culture, that has been a partner of French cultural cooperation for more than thirty years. The Hue Festival, a major cultural event with an international audience, was first called the Vietnamese-French Festival and celebrated in 1992.  

As a French intellectual versed in cultural studies and post-colonial theory, I was fully aware of the ambiguities and contradictions involved in promoting French culture in Vietnam. For post-colonial scholars, imperialism manifests itself not only through physical domination of geographic entities, but also through the colonization of the imaginary. But contemporary Vietnam is very forthcoming with its colonial past, and harbors no complex towards former imperial powers. After all, it has won two major wars against two dominant world powers, and has resisted more than a thousand years of Chinese imperialism. Still, the terms of cultural trade between France and Vietnam were premised on unequal exchange and an imbalance between center and periphery. As much as we sought to foster collaboration and joint projects between artists from the two countries, Vietnam was always on the receiving end, and France was always the initiator. We faced many practical dilemma in our daily activities. Could we, for instance, display the photographs of Vietnamese women from various ethnicities taken by a French artist who sold mostly to rich tourists and foreign collectors? Or should we promote the emergence of a local art scene through photography workshops and cross-exhibitions? Could we invite French intellectuals to ponder about the risks posed by Facebook and other social networks in a country where Facebook represented one rare window of free expression? How could Vietnamese historians debate with their French counterparts about the battle of Dien Bien Phu, and could they develop a common understanding of history? And how to explain the enduring success among Vietnamese audiences of the films Indochine and L’Amant that we showed repeatedly in our cinema-club? The image of colonial chic that I perceived as an expression of imperial nostalgia and ethnic prejudice among French nationals proved to be equally attractive among young Vietnamese, who had no memory of the Indochinese past but found its modern expressions romantic and glamorous.

White privilege?

For us, the ethnic question was raised in different terms than for Tyler Denmead. He denounces the myth of the “good white savior” who is supposed to transform “troubled youth” of color into “creative youth.” Well aware of his white privilege, he is careful to avoid “performative wokeness” and “virtue signaling” and to distinguish his auto-ethnography from a quest for redemption. He concludes his book with a series of recommendations based on the very words used by young people who hung around in the arts studio: troublemaking (or “fucking up white notions of what it means to be black or brown”), creating a hot mess (a place where they can be random, irrational, and disrespectful of authority), and chillaxing (temporarily opting out of the system). Our goal in Vietnam was not to encourage youth resistance and rebellion. And we did not understand “white privilege” in the way Tyler Denmead applies it to his own case. Still, it could be argued that our cultural policies and management practices were based on structural inequalities. Although our recruitment policy was open and nondiscriminatory, three of the four directors of the French culture centers in Vietnam were French, while their assistants were all Vietnamese. The presence of native French teachers was a major selling point for our language classes. Accordingly, most if not all full-time teachers were French nationals (of various ethnicities) while the part-time lecturers were Vietnamese. With very few exceptions, French managers and teachers could not speak Vietnamese, while all Vietnamese staff, including technicians, were required to have at least some mastery of the French language. Expat salaries exceeded the paycheck of locally hired staff by an order of magnitude. As for our public, we didn’t target the expat community for our cultural events. But France’s image was associated with elitism, and we were expected to keep a high profile and an upmarket brand image. Not unlike Tyler Denmead’s Urban Arts center in Providence, the French culture center in Hanoi was an instrument in a wider movement of gentrification, and was in the end forced to relocate due to the very forces it supported.

Going to the Movies in Paris, Then and Now

A review of Paris in the Dark. Going to the Movies in the City of Light, 1930–1950, Eric Smoodin, Duke University Press, 2020.

Paris in the DarkParis in the Dark made me remember going to the movies in Paris as a child and a teenager. Of course, I did not experience firsthand the period covered by the book, from the 1930s to around 1950. My formative years took place in the late 1970s and in the 1980s, and a lot of change took place between the period described in the book and the times I remember from my childhood. But Paris will always be Paris, and some aspects of the cinema culture that Eric Smoodin describes did sound familiar. The same time distance lies between 1980 and today and between 1980 and the 1930-1950 period, in the interval between the disappearance of silent movies and the beginning of color films. Maybe my childhood years were even closer from the era of black-and-white movies than they are from my present self. Time has been running faster lately: we now have the Internet and Netflix, while I am speaking of a period before DVDs and VHS. Time did not stand still between 1940 and 1980, but there was more continuity between these two dates for French moviegoers and cinema aficionados than between 1980 and now. Also I tend to look as past history from the same perspective that Eric Smoodin describes in his introduction and concluding chapter. He, too, spent time in Paris between 1980 and 1981, as a graduate student who went to the movies as often as he could. And he now looks at the 1930s and 1940s with eyeglasses colored by this youthful experience. We broadly belong to the same generation. And we both feel nostalgic for a time when “going to the movies” was something more than spending an evening out: it was a lived experience that shaped your identity and culture.

Movie magazines

The first thing Parisians and banlieusards did when they planned to go to the movies around 1980 was to buy Pariscope (or its competitor L’Officiel des Spectacles.) This moderately-priced magazine listed all the movies, spectacles, and entertainment events in Paris and its surrounding banlieue over the upcoming week. You could find the address and schedule of cinemas, theaters, concert halls, museums, with posters from the most recent movies and even ads for sex shops, swinger clubs, and Minitel rose online forums. Pariscope was created in 1965 and ceased publication in 2016. But Eric Smoodin could exploit a similar publication, Pour Vous, a popular film tabloid that was published between 1928 and 1940 and that contained complete listings of all the films playing in the city and in the suburbs. Using this archive as a source, he produces a map of the city’s twenty arrondissements with some of the major cinemas from the period 1930-1950, cinemas that were for most of them still in existence in 1980 but, with a few exception, have disappeared from present-day Paris. He makes the distinction between the cinémas des grands boulevards lining the Champs Elysées and other main avenues, the cinémas de quartier serving a more localized neighborhood, and the ciné-clubs that were mostly concentrated in the Quartier latin, the fifth and sixth arrondissement. Each category offered a different movie-going experience. Each also survived the passing of time and link the distant past to more recent childhood memories and to the present.

As a representative of the first category, take the Rex, situated on the boulevard de la Poissonnière, which was the largest cinema theatre in Europe at the time of its opening in 1932. The Rex was built by Jacques Haïk, a wealthy film impresario known for having introduced Charlie Chaplin to France. Haïk aimed to create the most beautiful movie theatre in Paris, where cinema-goers would have the illusion of watching a film in the open air, with the ceiling painted to represent a starry night sky. The French press noted the florid extravagance of this “cinéma atmosphérique,” with its “starred ceiling giving us the illusion of an oriental night.” During the Occupation, the Rex was requisitioned and became the Soldatenkino, reserved for German soldiers. In the 1950s, one of the first escalators in France was installed and inaugurated by Gary Cooper. For a child, going to such a theater was a magic experience. It sparked the imagination for a lifetime: I still remember the grand building, the queue to the ticket window, the tip to the ouvreuse or usherette, the ice-cream seller who also handled cigarettes and Kleenex, the commercials opened by the animated figure of Jean Mineur throwing his pickaxe to a target and hitting bull’s eye…

Grand cinemas, cinémas de quartier, and ciné-clubs

The Rex and other grand cinemas typically played new movies for only a week before they were fanned out to other cinemas in the neighborhood, where the most successful flicks could keep on screen for weeks on end. The cinéma de quartier is where most Parisians situate their early movie experience. This is where they remember going to the movies for the first time alone or with their friends as opposed to accompanied by their parents; where they exchanged their first kiss; where they laughed, cried, or screamed in reaction to the scenes of the screen. In France, a R-rated movie would be accessible to teenagers, and a “film interdit aux moins de 16 ans” would be rated X in the US. But there were always ways to fake your ID, negotiate your entry without paying with the ticket clerk, or using a backdoor and some lock-picking skills to free ride on a film show. The neighborhood cinema was a familiar presence that is still remembered fondly in adult life and that finds its ways into novels by Patrick Modiano or movies such as Cinema Paradiso. Its disappearance is always a local tragedy, and its replacement by multiple screen theaters wipes away an important part of the viewer’s experience. 

No other city in the world during the period covered by this book had so extensive a system of ciné-clubs as Paris. From early on, cinema was considered as part of culture, and was identified as “le septième art  by a French-Italian critic as early as 1923. But not all movies were art movies. And ciné-clubs or art-movie theaters had a connection with highbrow Parisian culture that the commercial cinema typically did not. Movies and documentaries could occasionally be projected in institutions other than cinemas: museums, concert halls, conference venues, public libraries, or amphitheaters. They were usually preceded by introductory remarks and followed by a “débat cinématographique” bringing in the film director, art critics, public lecturers, and the public. The frequently posh setting, the people who attended, and the discussions that took place made the ciné-club, far more than the ordinary cinema, a special location in the cultural geography of Paris. In the 1970s and 1980s, ciné-clubs were also present in suburban or provincial cities and towns, as well as in the form of a student-managed activity in lycées and universities. The screenings, which sometimes took the form of all-night movie marathons, could follow various patterns such as the director retrospective, the thematic series, the avant-garde aesthetic experience, and the sensational or censored film. This is where the cinematic auteurs from the Nouvelle Vague and the art critics from Les Cahiers du cinéma honed their skills and acquired their cinematic culture.

Version originale sous-titrée

American journalists quoted by Eric Smoodin reported that Parisians had a preference for French films, and tended to shun American films with French subtitles or sous-titres in favor of French-dubbed Hollywood movies. In fact, from a sample of 110 movies listed in Pour Vous in 1933, the author was able to identify 48 French films, 34 Hollywood movies, as well as a few movies from Great Britain, Germany, Italy, Spain, and Belgium. Assigning national origins to all movies from the period can be challenging, as there were quite a few binational coproductions as well as foreign films produced for the French market or multiple-language versions of the same movie. And many films were shown in their original language. The sous-titré movie held a privileged place in French cinema, especially among the cultured elite, even if they didn’t always understand the original English. In a city known for its international film culture, foreign movies have always shared the screen with domestic films. In the Paris of the 1980s, and especially in the art-movie theaters, you could see movies from a wide variety of international directors: Visconti, Pasolini, Fellini, Antonioni, Bergman, Eisenstein, Tarkovsky, Wajda,  Kieslowski, Ozu, Oshima, Kurosawa, Fassbinder, Wenders, Jarmusch, Lynch, Kubrick, etc., were household names for the true cinéphile.

Paris, and later Cannes (where the International Film Festival was first organized in 1939 and relaunched in 1946), could make or break the reputation of filmmakers and actors. Among the most compelling stars of the period were Maurice Chevalier and Marlene Dietrich, who rose to fame following the switch to sound technologies and eclipsed older stars from the silent era. Both actors were transnational celebrities. Chevalier started his career in the music hall in France but then moved to the United States to work with Paramount. Dietrich’s career was launched with her role in L’Ange bleu in 1930, and Parisian audiences could hear her singing the theme song in the original German (“Ich bin von Kopf bis Fuß auf Liebe eingestellt”). Much more than the silent film stars, whose nationality or regional origin could never be given away by their accents, both Dietrich and Chevalier were perceived as national subjects, as German in the first case and French in the second. Their stardom may have its roots in Hollywood, but could only attain its full development with  the success they attained with French audiences. It is only recently that French actors have started to feature in American movies without a heavy French accent—although Jean Dujardin, the lead character in the 2011 movie The Artist, articulates English in a distinctly French way.

For the historian, cinema in the 1930s was also a site of violence motivated by right-wing politics. The 1930 screening of L’Âge d’or, the surrealist movie by Luis Buñuel, was interrupted by the right-wing Ligue des Patriotes who threw ink at the cinema screen and assaulting viewers who opposed them. During the following months and years, there was a series of escalating incidents in Paris cinemas, with interruptions by the public leading to police intervention. Likewise, I remember showing support during my high-school years to the local ciné-club whose screenings of controversial movies such as Je vous salue Marie (1985) by Jean-Luc Godard or La dernière tentation du Christ (1988) by Martin Scorsese was opposed by demonstrations and booing from traditional Catholics. Choosing a particular movie or theater was also a way to manifest your political affiliation. During the 1930s, one ciné-club, Les Amis de Spartacus, was affiliated with the French Communist Party and typically showed films that had been banned in France, such as Sergei Eisenstein’s Le Cuirassé Potemkine (1925). Forty years laters, municipalities from the banlieue rouge headed by communist mayors would still screen movies from Eastern Europe and the Soviet Union that would not feature in commercial cinemas. But going to the movies also positioned you in the field of intellectual politics: being able to discuss cinema history and to comment on the latest film attraction was, and still is considered as a litmus test for the true Parisian intellectual. Eric Smoodin deserves the title in abstentia.

Post scriptum: Eric Smoodin, the author of Paris in the Dark, also writes a blog on WordPress, the Paris Cinema Project. It has more pictures and historical details than the book. Recommended reading.

Remnants of “La Coopération”

A review of Edges of Exposure. Toxicology and the Problem of Capacity in Postcolonial Senegal, Noémi Tousignant, Duke University Press, 2018.

Edges of ExposureCapacity building is the holy grail of development cooperation. It refers to the process by which individuals and organizations as well as nations obtain, improve, and retain the skills, knowledge, tools, equipment, and other resources needed to achieve development. Like a scaffolding, official development assistance is only a temporary fixture; it pursues the goal of making itself irrelevant. The partner country, it insists, needs to be placed in the driver’s seat and implement its domestically-designed policies on its own terms. Once capacity is built and the development infrastructure is in place, technical assistance is no longer needed. National programs, funded by fiscal resources and private capital, can pursue the task of development and pick up from where foreign experts and ODA projects left off. And yet, in most cases, building capacity proves elusive. The landscape of development cooperation is filled with failed projects, broken-down equipment, useless consultant reports, and empty promises. Developing countries are playing catch-up with an ever receding target. As local experts master skills and technologies are transferred, new technologies emerge and disrupt existing practices. Creative destruction wreaks havoc fixed capacity and accumulated capital. Development can even be destructive and nefarious. The ground on which the book opens, the commune of Ngagne Diaw near Senegal’s capital city Dakar, is made toxic by the poisonous effluents of used lead-acid car batteries that inhabitants process to recycle heavy metals and scrape a living. Other locations in rural areas are contaminated with stockpiles of pesticides that have leaked into soil and water ecosystems.

Playing catch-up with a moving target

Edges of Exposure is based on an eight-month period of intensive fieldwork that Noémi Tousignant spent by establishing residence in the toxicology department of Université Cheikh Anta Diop in Dakar, in an ecotoxicological project center, and in the newly-established Centre Anti-Poison, Senegal’s national poison control center. The choice to study the history of toxicology in Senegal through the accumulation of capacity in these three institutions was justified by the opportunity they offered to the social scientist: toxicity, that invisible scourge that surfaced in the disease outbreaks of “toxic hotspots” such as Ngagne Diaw, was made visible and exposed as an issue of national concern by the scientists and equipments that tried to measure it and control its spread. Layers of equipments that have accumulated in these two locations appear as “leftovers of unpredictable transfers of analytical capacity originating in the Global North.” Writing about history, but using the tools of anthropology and ethnographic fieldwork, the author combines the twin methods of archeology and genealogy. The first is about examining the material and discursive traces left by the past in order to understand “the meaning this past acquires from and gives to the present.” The second is an investigation into those elements we tend to feel are without history because they cannot be ordered into a narrative of progress and accomplishment, such as toxicity and technical capacity.

Noémi Tousignant begins with a material history of the buildings, equipments, and archives left onsite by the successive waves of capacity building campaigns. The book cover picturing the analytical chemistry laboratory sets the stage for the ongoing narrative, with its rows of unused teaching benches, chipped tiles, rusty gas taps, and handwritten signs instructing not to use the water spigots. The various measurement equipments,  sample freezers, and portable testing kits are mostly in disrepair or unused, and local staff describe them as “antiques,” “remnants,” or leftovers of a “wreckage.” They provide evidence of a “process of ruination” by which capacity was acquired, maintained, and lost or destroyed. The buildings of Cheikh Anta Diop university—named after the scholar who first claimed the African origins of Egyptian civilization—speak of a time of high hopes and ambitions. The various departments, “toxicology,” “pharmacology,” “organic chemistry,” are arranged in neat fashion, and each unit envisions an optimistic future of scientific advancement, public health provision, and economic development. The toxicology lab is supposed to perform a broad range of functions, from medico-legal expertise to the testing of food quality and suspicious substances and to the monitoring of indicators of exposure and contamination. But in the lab, technicians complained that “nothing worked” and that outside requests for sample testing had to be turned down. Research projects and advanced degrees could only be completed overseas. Capacity was only there as infrastructure and equipment sedimented over time and now largely deactivated.

Sediments of cooperation

Based on her observations and interviews, Noémi Tousignant reconstructs three ages of capacity building in Senegalese toxicology, from the golden era of “la coopération” to the financially constrained period of “structural adjustment” and to a time of bricolage and muddling through. The Faculty of Pharmacy was created as part of the post-independence extension of pharmacy education from a technical degree to the full state qualification, on par with a French degree. For several decades after the independence, the French government provided technical assistants, equipment, budget, and supplies with the commitment to maintain “equivalent quality” with French higher education. The motivation was only partly altruistic and also self-serving: the university was put under French leadership, with key posts occupied by French coopérants, and throughout the 1960s about a third of its students were French nationals. It allowed children of the many French expats in Senegal to begin their degree in Dakar and easily transfer to French universities, and also provided technical assistants with career opportunities that could be later translated into good positions in the metropole. France was clearly in the driver’s seat, and Senegalese scientists and technicians were invited to join the bandwagon. But the belief in equivalent expertise and convergent development embodied in la coopération also bore the promise of a national and sovereign future for Senegal and opened the possibility of African membership in a universal modernity of technical norms and expertise. Coopérants’ teaching and research activities were temporary by definition: they were meant to produce the experts and cadres that would replace them.

The genealogy of the toxicology discipline itself delineates three periods within French coopération: from post-colonial science to modern state-building and to Africanization. The first French professor to occupy the chair of pharmaceutical chemistry and toxicology in Dakar described in his speeches and writings “a luxuriant Africa in which poison abounds and poisoning rites are highly varied.” His interest for traditional poisons and pharmacopeia was not only motivated by the lure of exoticism: “tropical toxicology” could analyze African plant-based poisons to solve crimes, maintain public order, and identify potentially lucrative substances. In none of his articles published between 1959 and 1963 did the French director mention the toxicologist’s role in preventing toxic exposure or mitigating its effects on a population level. His successors at the university maintained French control but reoriented training and research to fulfill national construction needs. They acquired equipment and developed methods to measure traces of lead and mercury in Senegalese fish, blood, water, and hair, while arguing that toxicology was needed in Senegal to accompany intensified production in fishing and agriculture. But they did not emphasize the environmental or public health significance of these tests, and their research did not contribute to the strengthening of regulation at the national and regional level. Africanization, which was touted as an long-term objective since the time of the independence, was only achieved with the abrupt departure of the last French director in 1983 and its replacement with Senegalese researchers who had obtained their doctoral degree in France. But it coincided with the adoption of structural adjustment programs and their translation into budget cuts, state sector downsizing, and shifting priorities toward the private sector.

After la coopération

Ties with France were not severed: a few technical assistants remained, equipment was provided on an ad hoc basis, and Senegalese faculty still relied on their access to better-equipped French labs during their doctoral research or for short-term “study visits.” But the activation of these links came to rely more on the continuation of friendly relations and favors than on state-supported programs and entitlements. French universities donated second-hand equipment and welcomed young African scientists to fill needed positions in their research teams. They made the occasional favor of testing samples that could no longer be analyzed with the broken-down equipment in Dakar. The toxicology department at Cheikh Anta Diop University could not keep up with advances in science and technology, with the emergence of automated analytical systems and genetic toxicology that made cutting-edge research more expensive and thus less accessible to modestly funded public institutions. Some modern machines were provided by international aid agencies as part of transnational projects to monitor the concentration of heavy metals, pesticides, and aflatoxins—accumulated often as the result of previous ill-advised development projects such as the large-scale spraying of pesticides in the Sahel to combat locust and grasshopper invasions. But, as Tousignant notes, such scientific instruments “are particularly prone to disrepair, needing constant calibration, adjustments, and often a steady supply of consumables.” The “project machines” provided the capacity to test for the presence of some of the toxins in food and the environment, but they did not translate into regulatory measures and soon broke down because of lack of maintenance.

The result of this “wreckage” is a landscape filled with antique machinery, broken dreams, and “nostalgia for the futures” that the infrastructures and equipment promised. Abandoned by the state, some research scientists and technicians left for the private sector and now operate from consultancy bureaus, local NGOs, and private labs with good foreign connections. Others continue to uphold the ideal of science as a public service and try to attract contract work or are occasionally enlisted in transnational collaborative projects. Students and researchers initiate low-cost, civic-minded “research that can solve problems,” collecting samples of fresh products, powdered milk, edible oils, and generic drugs to test for their quality and composition. Meanwhile, the government of Senegal has ratified a series of international conventions bearing the names of European metropoles—Basel, Rotterdam, Stockholm—addressing global chemical pollution and regulating the trade of hazardous wastes and pesticides. Western NGOs such as Pure Earth are mapping “toxic hotspots” such as Ngagne Diaw and are contracting with the Dakar toxicology lab to provide portable testing kits and measure lead concentration levels in soil and blood. Entreprising state pharmacologists and medical doctors have invested an unused wing of Hôpital Fan on the university campus to create a national poison control center, complete with a logo and an organizational chart but devoid of any equipment. Its main activity is a helpline to respond to people bitten by poisonous snakes.

Testing for testing’s sake

Toxicology monitoring now seems to be submitted to the imperatives of global health and environmental science. Western donors and private project contractors are interested in the development of an African toxicological science only insofar as it can provide the data point, heatmaps, and early warning systems for global monitoring. The protection and healing of populations should be the ultimate goal, and yet the absence of a regulatory framework, let alone a functional enforcement capacity, guarantees that people living in toxic environments will be left on their own. In such conditions, what’s the point of monitoring for monitoring’s sake? “Ultimately, the struggle for toxicological capacity seems largely futile, unable to generate protective knowledge other than fragments, hopes, and fictions.” But, as Noémi Tousignant argues, these are “useful fictions.” First, the maintenance of minimal monitoring capacity, and the presence of dedicated experts, can ensure that egregious cases of “toxic colonialism” such as the illegal dumping of hazardous waste, will not go undetected and unanswered. Against the temptation to consider the lives of the poor as expendable, and to treat Africa as waste, toxicologists can act as a sentinel and render visible some of the harm that populations and ecosystems have to endure. Second, like the layers of abandoned equipment that documents the futures that could have been, toxicologists highlight the missed opportunity of protection. “They affirm, even if only indirectly, the possibility of—and the legitimacy of claims to—a protective biopolitics of poison in Africa.”

The Stripe Guy and the Stick Man

A review of Disordering the Establishment: Participatory Art and Institutional Critique in France, 1958–1981, Lily Woodruff, Duke University Press, 2020.

Lily Woodruff

The book cover shows a man walking in the street carrying a multicolored wooden pole on his shoulder. The place is Paris, the man is an artist named André Cadere and the pole he carries, “a round bar of wood” as he calls it, is his signature artwork. How to look at a round bar of wood? is how an art critic called the catalogue of a Cadere exhibition. Perhaps we should look first as the surrounding scene: for as the French intellectual Guy Debord put it, “That which changes our way of seeing the street is more important than that which changes our way of seeing a work of art.” The location can easily be identified as Parisian; with its Hausmann buildings and streets paved with cobblestones, it represents an ordinary urban scene featuring a fruit stall with empty wooden crates, a man standing at a bus stop with his leather bag resting on his side, and an elderly passerby carrying her shopping basket, minding her business. The main character walks a slow pace, head slightly inclined, with long hair and an intense look. His bar of wood draws a diagonal that cuts across the picture, forming a triangle with the vertical street light pole. André Cadere was, by all accounts, an original. He regularly turned up uninvited at art-world parties, or left one of his signature batons leaning against a wall in exhibitions in which his work was not meant to be included. As well as bringing his batons into the art world, Cadere also presented them in public spaces, including restaurants and subways, announcing ‘exhibitions’ where he would appear between specific hours every day over a certain period of time, engaging passers-by with discussions about his baton and art. “Establishing Disorder” was the title of such a public talk where the artist discussed his work without exhibiting any, inviting his public to leave the room and return to their homes as a way to contest the art establishment.

Reengineering society

Disordering the Establishment, by Lily Woodruff, focuses on French artists or groups of artists in the period preceding and following the social upheaval of May 1968. She provides a total description of their artistic careers by putting their works into historical context and providing the critical apparatus built by art critics and influential thinkers to apprehend their contribution to French contemporary art and ideological debates. The 1950s and 1960s heralded the age of the technocrat: the new elite of administrators and technical experts who applied tools of social science to reengineer and modernize society. Their collective power was anonymous, science-based, and diffuse: they sought to exert authority through control of information flows, design of incentives, and manipulation of the environment more than by direct order and administrative fiat. One key word of the times was participation: for de Gaulle, workers’ participation in management aimed at substituting cooperation to antagonism and offered a way out of the class struggle that was plaguing French society. More generally, the public was invited to participate in the decisions that affected them, including aesthetic choices and cultural policies. The notion of feedback, taken from the study of cybernetic systems, was used to advocate a loop between the public, policy makers, and cultural producers in order to bring art closer to the popular audience and make it more relevant to its concerns. Technocratic idealism drove the projects of many artists, critics, architects, and urban planners. The creation of the grands ensembles or HLM (habitations à loyer modéré) in the suburbs was a grand scale experiment that attracted considerable attention at the time. Critics pointed out the dehumanizing aspects of modern habitats and the alienation brought about by a conservative social order. Others attempted not only to describe bourgeois society, but to change it through a new praxis emphasizing autonomy, creativity, and  political engagement.

The Groupe de Recherche d’Art Visuel (GRAV) was not a group of researchers, but a group of artists doing research. It was active in Paris from 1960 to 1968. Eleven artists signed the original manifesto, but only six of them formed the core of the group, among which François Morellet, Julio Le Parc, and Yvaral. Following the belief of Victor Vasarely (father of Yvaral) that the concept of the artist as a solitary genius was outdated, they cultivated anonymity and declared themselves to be “more a group of paintings than a group of painters.” In their “acte de fondation” manifesto, they spelled out nine stratagems that the group would use to unify their artistic activities and research discoveries so as to generate a constant movement of ideas and ensure that no one individual would claim authority on his own work or that of the group. Considering the objects that they produced not as finished artworks, but rather as research, they conceived of their creation process as a continual progression based on trial and error. The group guidelines closely resembled the technocratic language of the era. Using Op art and kinetic art as a medium, they defended abstraction against the prevailing popularity of figurative art among French left-wing artists and critics, and argued that abstract art was not opposed to the principles of dialectic materialism. Their plea for an abstract progressive art took inspiration from models of scientific research. They referred to “topology,” a branch of mathematics that served as a popular metaphor during the 1960s, and used Gestalt theory and cybernetics to create spaces of “visual therapy” in which viewers might discover more about their own process of reasoning than about the art itself. The cool, repetitive regularity emblematic of GRAV’s works embraced a rational geometric abstraction that stood in stark contrast to what the artists saw as the stagnating expressionisms and figurations of the French art scene. While the initial focus of the GRAV artists stemmed from experimenting with visual perception, the group’s works expanded to examine notions of spectator participation. In 1966, they brought their kinetic sculptures to the streets in a cargo van touring central Paris, distributing explanatory texts and questionnaires to the public. They installed walk-through labyrinths that they conceived of as social experiments, but that disgruntled critics compared to the devices one would expect to see at a Luna Park. They eschewed the art gallery circuit and imagined that ideally their art objects would be available for distribution at Monoprix discount stores. But the democratic ambition of their participatory displays was in tension with the rational and technocratic ethos of their approach. As the founder of the Situationist International Guy Debord put it, “What they call the avant-garde of absence is nothing more than the absence of an avant-garde.”

From enfant terrible to established artist

With the installation of his 260 truncated columns in the great courtyard of the Palais-Royal, Daniel Buren has become the symbol of the established artist. Commissioned by the Ministry of Culture, this work provoked an intense debate over the integration of contemporary art in historic buildings and about the imposition of aesthetic choices by an establishment of art administrators and policy-makers over a reluctant public. But in the 1960s and 1970s, Daniel Buren was the enfant terrible of contemporary art and the personification of anti-establishment. In 1969, he refused to have his work included in an exhibition of “Art in the street” because he did not want to be represented as one artist among others. He mocked the pretension of GRAV and kinetic artists to reach popular audiences in the cités HLM through imposed participation: “I am sure that it would be much more agreeable to be exploited.” Buren discovered the stripe motif that would become his signature while searching for inexpensive material on which to paint at the Marché Saint-Pierre in 1965. He was pursuing the “degree zero of painting,” an expression taken from Roland Barthes’ 1953 book Writing Degree Zero. In April 1968, Buren began pasting posters that he had commercially printed with his striped motif at various locations across Paris in what he called affichages sauvages, or wild posterings. The posters went up on palisades surrounding construction sites covered with advertisements, but also among other fly-posted tracts condemning the war in Vietnam and announcing meeting times for protests—Mai 1968 was to erupt the next month. Spurred by the student protests, he accompanied his works with a deluge of explanatory texts, written tracts, manifestos, and interviews in which he declared “the only thing that one maybe can do after having seen a canvas like one of ours is total revolution.” He saw French society as massively repressive and the contemporary art world as irretrievably compromised: he retrospectively described “a suffocating atmosphere, with the appearance of being tidy and policed, where avant-garde artists had an open table at prime minister Georges Pompidou’s place.” But his own work crucially depended on institutions for ideological support. While objecting to traditional ways of presenting art through the museum-gallery system, he cultivated his relations with galleries and biennales, creating pressing demand to show via the same system. As a sign that the times were changing, he began to produce decorative tape and wallpaper for private residences in the 1980s.

If Daniel Buren was the “stripe guy,” André Cadere is remembered as “the stick man,” the artist known for carrying a stick. He shared with the GRAV collective a taste for formalism and mathematics: his round bars of wood, of various size and length, were composed of colored segments repeating a combination sequence in which one deliberate error was inserted. He was less engaged than Buren in political talk; if anything, his status as a refugee exiled from his native Romania exposed him to the surveillance of the state police, and he has had enough of a taste of totalitarianism to appreciate democratic freedom as it was worth. The man with a stick was much less famous than the stripe-man, but he used his fellow artist’s fame to free-ride on his egoistic self-promotion. In 1973, he left a colored bar in an exhibition featuring Buren’s works and, when it was removed and hidden away in a closet, circulated an exhibition announcement instructing visitors to seek out the sequestered bar in the broom closet. Like Buren, Cadere produced a single type of iconic work based on a systematically repeated formula that negated the subjectivity of the artist and neutralized the significance of viewer interpretation. While Buren’s work from this period similarly played across the boundaries of institutional limitation, the highly visible and intentional attachment of the artwork to the body of the wandering artist was the feature by which Cadere argued his opposition to Buren. Whereas in situ works generally complemented the sites in which they were placed, Cadere’s juxtapositions based their critique on the cultural inappropriateness of the art object’s presence within and outside artistic contexts. Cadere’s guerrilla tactics was in line with his hobo lifestyle. He fashioned himself as a rogue art celebrity, building his identity on marginality and independence. Photographs (remember the book cover) represent him in various circumstances, with his trademark stick and intense look, but he was careful to distinguish between the artwork and its representation through documentary media. Cadere wanted his bars to be seen in their materiality, and insisted that his work was “exhibited where it is seen.” His round bars of wood are now displayed in museums and private collections, but they have lost their potential to disturb and to unsettle. 

Sociological Art

Though relatively unknown today, Sociological Art is thoroughly emblematic of the historical upheavals of the late 1960s and 1970s in France. The Sociological Art Collective was formed by Hervé Fischer, Fred Forest, and Jean-Paul Thénot in 1974 but each artist came to its positions independently by developing their own art projects. In 1971, Hervé Fischer invited other artists to send him their artworks which he tore up and disposed in garbage bags put on display in an art gallery. He also disposed of his own body by putting his head in a plastic bag or wrapping himself in vinyl sheets. For Fischer, tearing and throwing away was as much creative as it was destructive, and documenting this process of destruction was conceived as a work of art. Fred Forest, who worked as a telephone operator in the 1960s, organized his earlier works around the mediated participation of his audience. In Portraits de famille, he asked the residents of a suburban housing project to send family pictures at the dinner table, which he presented in a community exhibition. In Space-Media, he placed a blank rectangle in the newspaper Le Monde and inviting readers to fill it in with whatever they liked and mail it to him. Taking part in a popular television program, he made the screen grow black for a few seconds and invited spectators to fill that free space with the thoughts and comments that he then collected. On the occasion of the São Paulo biennale in October 1973, he organized a series of performances, including a procession through the city center with participants holding white placards: he was arrested by the junta police, who took it as a real protest. Jean-Paul Thénot distributed questionnaires with open or nonsensical questions that he analyzed with the statistical techniques used by opinion pollsters. Most of his polls reflected on the art world, as when he asked respondents to name the most representative French artist that would correspond to the mean average choice. Together, the three proponents of Sociological Art published manifestos, organized interdisciplinary performances, and conducted field experiments as in their large-scale artistic survey of the city of Perpignan. Rejecting aesthetic motivations, they argued that “sociological art has no style,” and they developed an ethics of nonintervention by providing raw data and community-based documents. 

I was completely unfamiliar with the episodes of contemporary art history that are described in this book. What I take from reading Disordering the Establishment is three things. First, Lily Woodruff succeeds in linking art to its historical context. Through her four case studies, she provides an alternative story of Les Trente Glorieuses, the three decades of robust economic growth, political dirigisme, and social upheavals that French citizens now remember with nostalgia and regret. Art is not estranged from its social and political environment: on the contrary, it reflects and contributes to the main debates of the day, projecting them on a different plane that makes the familiar look unfamiliar. By developing a critique of institutions, art brings disorder and dissonance into a well-ordered world. It reminds us that history always contains a part of randomness, of background noise and graphic disturbance that retrospective narratives tend to eliminate from the broad picture. When you switch the channel to this ambient noise, a different history appears, unfolding at street level and more attuned to the individual experience of passers-by. As a second contribution, the author brings contemporary art schools in close contact with intellectual history. I was in more familiar terms with the many intellectuals, social critics, and thinkers that Lily Woodruff quotes in abundance. The writings of Roland Barthes, Pierre Bourdieu, Guy Debord, Gilles Deleuze, Michel Foucault, Henri Lefebvre, Jean-François Lyotard, Edgar Morin, and others are very relevant for understanding artistic developments in France and putting them into their ideological context, not least because these thinkers were themselves close watchers of the art scene and commented upon contemporary artists in their work. Intellectual debates at the time were as much about aesthetics as they were political or philosophical. The anti-establishment mood was widely shared and gave way to various expressions: taken together, they form the most valuable inheritance that we received from this period. Artists and critics developed a form of specific courage: their attack on the establishment was not only intellectual posturing. They walked the talk and drew the consequences of their radical political stance in their specific field of activity, without fear of confrontation and marginality. That some of them rallied later on to existing institutions and centers of power only shows the precarious nature of the artistic field, where only institutions or the market can guarantee independence over the long term. As a third point, Disordering the Establishment seems to me a good model of how to write about art. Especially when it comes to contemporary creation, I am all in favor of pedagogy and even didacticism in the appreciation of the arts. I believe art and literature ought to convey information and instruction, along with pleasure and entertainment. Artworks cannot do this by themselves: they have to be accompanied by a critical apparatus or scholarly material that allows the public to shape its perception and understanding of art. In her masterful essay on participatory art and institutional critique in pre- and post-1968 France, Lily Woodruff  provided me with such a companion to an intelligent understanding of some recent artistic creations.

Nationalists, Feminists, and Neoliberals Converging Against Islam

A review of In the Name of Women′s Rights: The Rise of Femonationalism, Sara R. Farris, Duke University Press, 2017.

Farris.jpgWhat happens in the name of women’s right is, according to Italian scholar Sara Farris, the denial of the rights of certain women and men to live a life with dignity in Western European countries where they have migrated. More specifically, an anti-Islam and anti-migrant rhetoric is increasingly articulated in terms of gender equality and women’s emancipation. The misuse of liberal discourse for illiberal ends is not new: the invasion of Afghanistan that followed the terrorist attacks of September 11 was presented to the international community as a mission to liberate Afghan women from their oppression under Taliban rule just as much as an act of defense and retaliation against the perpetrators of the attacks. The French fixation with the “Islamic” veil finds its origins in the Algerian war and the effort to present the fight against the FLN as a crusade for modernity on behalf of “Arab” women against their male oppressors. Closer to us, Marine Le Pen is known for courting France’s female voters and for endorsing women’s rights within the framework of her anti-migrant platform. What is distinctive about Sara Farris’s book are three things. First, she anchors her discussion on what she calls “femonationalism” (read: feminism+nationalism) within the context of ideological debates taking place in France, Italy, and the Netherlands during the first decade of the twenty-first century. Second, she shows that the instrumentalization of women’s rights for anti-migrant and anti-Islam purposes is not limited to political parties from the far right: rather, it is the result of a convergence between right-wing nationalists, some feminists and femocrats (by which she means bureaucrats and social workers promoting gender equality policies in state agencies), and neoliberal economic policies targeting participation in the labor market. Third, Farris claims that only a political economy analysis inspired by the critique of neoliberalism can explain why, at this particular juncture, “Muslim” men are being targeted as surplus workers “stealing jobs” and “oppressing women”, while “Muslim” and non-European migrant women are construed as redeemable agents to be rescued by integrating them into low-skilled, low-paid activities of the “social reproduction sector.”

The femonationalist ideological formation

The first argument on the ideology of right-wing parties is well-known. Politicians such as Geert Wilders in the Netherlands, Marine Le Pen in France, or Matteo Salvini in Italy have expressed support for the cause of gender equality (with occasional mentions to gay rights) within a xenophobic and anti-migrant framework. As the book title reflects, they are advancing their anti-Islam agenda in the name of women’s rights. Their attacks on migrant men, especially Muslims, are more strident than their position on non-Western migrant women. They consider the first ones as a direct threat to Western Europe society due, above all, to their oppressive treatment of women at home and their unrestrained, violent sexuality toward women outside the home. The second ones are considered as redeemable: provided certain conditions are met, women can “assimilate” into the host society (through work and often through marriage) and raise their children the “right” way, but they are to be protected from the pervasive influence of “their” men. As the title “in the name of women’s rights” suggests, this appropriation of a feminist agenda is only an excuse, a deception or a fraud by nationalist parties who are otherwise described as misogynist in essence and masculinist in style. Hence the message to European feminists: the accession of the nationalist right to power, as is the case in several European countries, would constitute a regression for women’s rights and would end in a backlash against women. This assumption, however, should be put to empirical testing: it might be the case that illiberal policies would, in the end, benefit the situation of (certain) women at the national level, although migrant women would certainly be the first victims of a tightening of immigration policies. Likewise, as we mentioned, liberal means can serve illiberal ends. We have no reason to assume that the defense of (certain) women’s rights in nationalist platforms is not sincere and that there is only instrumentalization at play. It is true that nationalist parties have shown concern about gender inequality mostly in the case of Muslim and ethnic minority communities. But the history of political ideas provides us with many cases in which ideologies have shifted from the left to the right and sometimes to the far right. Behind the declarations of populist leaders in favor of women’s empowerment and gender equality, there may be a kind of “alt-feminism” in the making. The relation between this alternative feminism and more traditional forms of feminism will have to be defined. But these fine points are not discussed by Sara Farris, who obviously has no sympathy at all for nationalist points of view: for her, femonationalism is no feminism at all.

The second thesis on “femonationalism” as convergence between different agendas and positions is less familiar to the general public and itself needs to be unpacked. The most evident manifestation of this convergence between nationalism and feminism is the fact that some well-known and outspoken feminists such as Elisabeth Badinter in France have joined the ranks of those who see Islam as a threat to European societies. Accordingly, they have endorsed legal proposals such as veil bans while portraying “Muslim” women as passive victims who needed to be rescued and emancipated. They have also described men originating from non-western, economically underdeveloped countries are misogynist and prone to sexual violence, as in the cases of rape and sexual aggressions committed by North Africans and Middle East migrants in Germany. Again, Islam is singled out by these intellectuals as a religion associated with unequal gender relations and violence (with an emphasis on honor killings, domestic violence, forced veiling, and arranged marriages). They see the veil as a form of symbolic violence exerted by Muslim men forcing women to wear it and by Muslim women singling themselves out from the rest of society. Many have turned against multiculturalism as promoting a kind of value relativism and failing to defend “western” values of emancipation, individual rights, and secularism. These arguments define what Farris call the “femonationalist ideological formation,” bringing together public figures who otherwise disagree on many issues. Sara Farris claims that feminists can only lose by espousing the anti-Islam agenda. They are diverting attention away from the many forms of inequality that still affect Western European women. They transform women’s rights into a “civilizational”, ideological issue, as opposed to a social and economic one grounded on material interests. They also contribute to the diffusion of an ethnicized vision of society. Their endorsement of the agenda promoted by the nationalist right is a “divine surprise” for the latter: right-wing politicians can claim the support of high-visibility intellectuals, who have a strong legitimacy on issues of gender inequality and women’s rights. Some self-declared feminists, such as Ayaan Hirsi Ali in the Netherlands, have lend themselves to political collaboration with right-wing forces. Most feminists however, have insisted on their distance with the nationalist right, claiming instead that their new fight against Islam’s oppression of women stands in continuity with their progressive engagement.

Migrant men and migrant women

Closely related to these Islam-bashing feminists, Farris also points to the role of “femocrats.” This term, slightly dismissive, refers to the (not necessarily female) bureaucrats who are institutionalizing feminism through state programs of gender equality and civic integration. Without giving any figures, Sara Farris claims that state funds are increasingly withdrawn from policies tackling gender inequality as a general problem and are redirected instead toward programs aimed at addressing gender inequality among “Muslim” and ethnic minority communities. These civic integration programs purport to teach migrant men what it means to respect women and gender diversity, and to instruct migrant women how to emancipate from their supposedly backward culture. Unwittingly, they are reproducing the prevalent image of migrant men as a sexual threat and migrant women as victims to be rescued. They are also positing the host country as a society where gender rights are respected and guaranteed by the state, as opposed to a domain of social gains and entitlements that need to be conquered and expanded. Of course, there is nothing wrong in telling people that men and women are equal and that women’s rights should be respected. But here again we may have the case of a liberal objective being pursued through illiberal and even repressive means. Civic integration policies have an obligatory character, and their nonobservance can be punished by either financial penalties or denial of a legal residence permit. Furthermore, the requirement that migrants possess the knowledge considered crucial to integration in the receiving country turns integration into an a priori condition rather than a process that occurs over time. From Sara Farris, the problem comes from the undiscussed assumption that these migrants need to be taught what gender equality is about as if they were ignorant of any notions about women’s rights. Besides, gender equality is mentioned mainly in reference to the private sphere, with an emphasis on traditional gender roles for women who need to develop good mothering skills. For Farris, emancipation cannot be taught, and certainly not in a condescending mode by Western feminists or state apparatuses. Nurturing freedom means first and foremost creating the material conditions for freedom and equality. That’s where the rubber hits the road: while social programs aimed at the integration of female migrants put forward values of emancipation and autonomy, they channel these women toward activities that are far from emancipating and that do not allow for their autonomization or empowerment. What they do is the opposite of what they preach.

Through civic integration programs and other policies, migrant women are directed toward what Sara Farris, in good Marxist fashion, calls the “social reproduction sector”: this refers to the care and domestic activities which are mostly located in the private sphere, such as babysitting, child rearing, housekeeping, apartment cleaning, and caregiving of the elderly. Farris sees a contradiction “when feminists and femocrats urge emancipation for Muslim and non-western migrant women while channeling them toward the very sphere (domestic, low-paying, and precarious jobs) from which the feminist movement had historically tried to liberate women.” While advocating women’s participation in the public sphere, they contribute to the confinement of migrant women in household services, the reinforcement of traditional gender roles and the perpetuation of the gender injustice they claim to be combating. Farris considers the jobs proposed to migrant women as lacking in dignity and not conducive to emancipation. Changing diapers, wiping floors, cleaning kitchens, attending sick bodies: these are occupations which are now overwhelmingly held by women of foreign origins and that European women do not want to take as a profession. Of course, one could argue that there is nothing demeaning in the work of care, in attending to children and the elderly, or in making hotel rooms and office space fit for productive use. These jobs can be held with dignity, the feeling that comes from working hard for a socially useful function. But this is not how society sees these jobs and occupations in western Europe. They are organized under conditions of precariousness, with minimal wages, job flexibility, part-time or casual contracts, and little access to welfare provisions. The inclusion of social reproduction into the market sphere of wage labor has not led to a rehabilitation of care and domestic work; on the contrary, it continues to be perceived as unskilled, low-status, isolated, servile, and dirty. And for Sara Farris, western feminists are largely to blame for this lack of consideration. They have deserted the issue of social reproduction as a matter for critical engagement, leaving the sector to the naturalizing forces of neoliberalism.

The regular army of domestic labor

Right-wing nationalists, intellectuals who identify themselves as feminists, state experts working on migrant women issues, and neoliberals favoring workfare programs: how can these very different and sometimes opposing parties come up with similar ideas when the migrant question is at stake? As Sara Farris insists, these opponents to Islam in the name of women’s rights should not be seen as partners in crime or ideological bedfellows. The fact that they sometimes converge on an anti-Islam platform doesn’t mean they are colluding, cooperating, or associating with each other in any way. Each party has specific reasons to frame Islam as posing a threat to gender equality in the west. Talking about instrumentalization to describe their relations would be patronizing, especially for the feminists who are very conscious of the political difference that separate them from the nationalist right. In true Marxist fashion, Sara Farris believes convergence at the ideological level comes from similar interests dictated by the material conditions of late capitalism. Neoliberalism isn’t simply the contextual ground on which the femonationalist convergence takes place: it is the constitutive plane of such a convergence. Neoliberal globalization is grounded on a sexual division of labor in which, to use Karl Marx’s categories, migrant women provide the “regular army of labor” and migrant men the “reserve army of labor” or relative surplus population. Unlike migrant men who work in the productive sector, migrant women who work in the domestic sector allow the social reproduction of labor to take place. They are spared from accusations of “stealing jobs” or “posing a threat to society” because they allow western families to form double income couples and to balance work with domestic life. Their employers maintain ownership and control over the social means of production and reproduction. Their labor cannot be substituted by machines and capital, as care and domestic work imply certain qualities that can only be provided by “live labor” and that are often associated with traditional feminine roles. The difference between the industrial sector afflicted with an oversupply of labor in western European countries and the social reproductive sector (cleaning, care domestic, and health care work) explains the double standard applied to male and female migrant workers, especially when religious values come into play.

Commenting the division of the working class in England between English proletarians and Irish proletarians, Karl Marx claimed he had found the secret of the maintenance of power by the capitalist class, as well as the secret of the English working class’s lack of revolutionary spirit. Similarly, Sara Farris believes she has solved the mystery of the unholy convergence between nationalists and feminist promoters of women’s rights: the femonationalist ideological formation takes places under the aegis of neoliberal exploitation of the Global South. “Just as the exploitation of non-western countries’ natural resources permits the West to keep its pattern of production and consumption, it is also migrant women’s socially reproductive work that permits western European women and men not only to have the ‘cheap’ care that enables them to be active in the labor market, but also to retain the illusion that gender inequality has been achieved—at least for ‘them’.” Migrant women are “needed” as workers, “tolerated” as migrants, and “encouraged” as women to conform to western values. Meanwhile, migrant men are needed only insofar as they form a “reserve army of labor,” pushing industrial wages down and antagonizing western workers who then tend to align with the nationalist agenda of the ruling class. Feminists who claim to act in the name of women’s rights are only idiot savants, contributing to the social reproduction of capital while protecting the interests of some women against others’. It is in this sense that they converge with the agenda of the nationalist right: both are complementary ways by which neoliberal globalization extends its conditions of uneven development and exploitation. This process is fraught with contradictions: historically, migrant women came to Western Europe only as the wives and relatives of male guest laborers who formed a first wave of labor migration. It is only when male workers became redundant that the demand for female migrant labor in social reproductive activities began to rise, leading to a mechanism of exclusion of male migrants and inclusion of female migrants. It is this dual process of inclusion and exclusion that femonationalism performs at the level of ideology.

Importing identity politics into Europe

In the Name of Women’s Rights offers a curious mix of European social critique and American multicultural advocacy. It was written while the author was in residence at the Institute for Advanced Studies in Princeton, with feminist author Joan W. Scott providing advice on how to frame intellectual debates about Islam and feminism in Western Europe. Through scholarly networks and academic contacts, the United States smuggles into Europe a vision of identity politics and multiculturalism that was developed in the context of the culture wars on university campuses and that reflects a very specific conception of social groups and ethnicities. Each individual is automatically affiliated to an ethnic or religious community, an exclusive group that is conceived as separated from mainstream culture and that is defined in opposition to other collectives: migrant vs. natives, foreigners vs. citizens, men vs. women, Muslims vs. secular individuals. Like the right-wing promoters of the fantasy notion of Eurabia, these leftist intellectuals see Islam and the integration of non-western Muslim communities as the main challenge facing European societies, overcoming all other forms of division and solidarity. Debates on citizenship, on gender parity, on secularism and on inequality are all overdetermined by this ethnic and religious context. As a European, Sara Farris should know better than to apply such simplistic notion to a situation that requires other tools of analysis and interpretation. But she finds it convenient to sugarcoat her hardcore Marxism with a layer of identity politics that provides catchy titles and attractive soundbites. Like the convergence between European nationalists and universalist feminists—a fringe phenomenon, that doesn’t reflect the history of both the nationalist right and of the feminist movement in Europe—, this alliance between radical economics and cultural warfare mixes elements that don’t fit together and that provide little explanatory power. This is a shallow and off-the-shelf book that attempts to ride the wave of sexual nationalisms by providing its own entry in the form of a catchy word—femonationalism is designed after the notion of homonationalism advanced by Jasbir Puar. But its cultural lenses are heavily biased, and its political economy antiquated. As a piece of transnational scholarship designed between Europe and the United States, it provides the worst of both worlds.