1) Among the various kinds of resistive performances that Dutta discusses in Chapter 7, which one is most often the most effective? Also, in case of street performances, how does one make sure that the performance really catches people's attention and makes them think, as opposed to making them watch it for a while and then dismissing it? 2) In resistive performances, what matters more -- the number of people one involves in the performances, or the intensity of the act per se? How does one take a resistive performance beyond art for art's sake and elevate it to the level of a transformative act?
This blog offers Mohan Dutta's reflections on the theoretical framework of the culture-centered approach, examining the interplays among Structure, Culture, and Agency in shaping marginalisation and the ways in which communities at the margins challenge structures. Writings on the blog are continually being revised to reflect the organic analysis of structure and agency.