Cut,
Paste, Publish: The Production and Consumption of Zines
Michele Knobel & Colin
Lankshear
Paper presented at the State of the Art Conference,
Athens, Georgia
January 25-28, 2001
To appear as: Knobel, M. and Lankshear, C. (2001). Cut,
paste, publish: The production and consumption of zines. In D.
Alvermann (Ed.), New Literacies and Digital Technologies: A Focus
on Adolescent Learners. New York: Peter Lang (forthcoming).
"Zine culture hit its stride in the mid-'80s with
the mushrooming of thousands of tiny-edition photocopied publications
distributed by mail, usually to other zine publishers. Many of these
small, idiosyncratic hand-crafted publications no longer emphasized
the idolized object of "fan action," but rather the zine creators
themselves. They were proud amateurs-they loved what they did, even
if few other readers (ranging from a couple of dozen to a couple of
thousand) would ever appreciate their obsessive devotion to, for
example, the respective subjects of Eraser Carver's Quarterly or
Thrift Shop News" (Daly and Wice 1995: 280).
introduction:
Despite their direct relevance to studies of
literacy practices, zines (pronounced 'zeens') have scarcely featured in the
literature of educational research. Where zines have been taken
seriously as a focus of inquiry it has mainly been within studies of
popular/youth culture (cf. Chu 1997; Duncombe 1997; Williamson 1994).
This chapter is intended to provide a modest redress of the silence
with respect to zines within literacy studies generally and the New
Literacy Studies in particular. We believe anyone interested in the
nature, role and significance of literacy practices under
contemporary conditions has much of value to learn from zines and,
especially, from thinking about them from a sociocultural
perspective. Indeed, we think their significance extends beyond a
focus on literacy per se to pedagogy at large. For immediate purposes
we begin from the premise that zines are an important but
under-researched dimension of adolescent cultural practices and
provide fertile ground for extending our understanding of new
literacies and digital technologies.
We want to make one point as clear as possible
from the outset. In what follows we do not want to be seen as
advocating any attempt to 'school' zines: to try and make the
production and consumption of zines part of routine language and
literacy education in the classroom in the kinds of ways that have
befallen so many organic everyday literacy practices. The last thing
we would want to see is a zines component within, say, a genre-based
English syllabus, or a temporary 'zines publication center' in the
corner of the classroom. The best of zines are altogether too vital
and interesting to be tamed and timetabled. After all, they are a DIY
countercultural form systematically opposed to conventional norms and
values associated with publishing, establishment views, and
'schoolish' reading and writing. Rather, we think that many learners
and teachers might benefit greatly simply from becoming more aware of
zine culture. Beyond that, they can participate in zine culture in
their own ways and to the extent of their interest (which may be
zero) as they would engage with other learning resources and cultural
practices in their lives outside school. Our aim here is simply to
introduce zines to readers who may not be familiar with them, and to
advance a point of view about their significance as literate cultural
practice. Our view is that zines exemplify some important
dispositions and qualities that young and not-so-young people may
find helpful as they negotiate jungle-like social conditions lying
foreseeably ahead of us (cf. Gee, this volume; Friedman 1999;
Goldhaber 1997).
Specifically, zines exemplify in varying degrees
diverse forms of spiritedness (gutsiness), a 'do it yourself' (DIY)
mindset, ability to seek, gain and build attention, alternative
(often in-your-face anti-establishment, although not always nice)
perspectives, street smarts, originality and off-beatness, acute
appreciation of subjectivity, tactical sense, self-belief,
enterprise, and a will to build and sustain communities of shared
interest and solidarity. These are the kinds of themes that will
arise in our account of zines as a characteristically contemporary
literacy. In what follows we will provide a general account of zines
as a cultural phenomenon, using brief illustrations of their two main
forms: hard copy and electronic zines. After that we will look at
some zines we consider exemplary in relation to three main themes
relevant to educational work. These concern the ideas of a pedagogy
of tactics, a pedagogy of subjectivity, and a pedagogy of civic and
political commitment.
zines and
zine-ing:
As distinctive forms of publication, zines openly defy longstanding conventions. They often employ
handwritten text. They very often subvert the cash nexus: zine
purchasing currency is frequently a zine in trade or postage stamps.
Among hard copy zines, smudgy photocopied products are common. Zines
rarely break even financially on a print run, often running at a
permanent loss (sometimes a mark of pride) and which borne by the
self-publisher. Zines are usually accessed via networks of friends,
reviews, or other zinesters without recourse to advertising budgets
or distributors. It is typical for a zine to be written, illustrated,
designed, published and posted by one person.
Some writers date zines as an identifiable
cultural form back to the 1940s (Duncombe 1997, 1999). The kinds of zines we are concerned with
here--perzines--date more recently, achieving 'critical mass' from
the mid 1980s. These zines grew out of the 1970s punk rock scene as
fans put together 'fanzines' about their favourite band--biographical
details, appearance dates and venues, album reviews, and the like.
These small-run magazines, 'zines' for short, were originally typed
texts that were cut and pasted by hand into booklet form and
mimeographed. They were distributed during concerts or via networks
of friends and fans. Gradually, these zines evolved into more
personalised locations of expression--and their topics and themes
ranged far beyond the punk rock scene. Nowadays zines come in all
shapes and sizes, forms and media:
Some are just a page or two, others much longer.
They can be photocopied or finely printed, done on the backs of
discarded office papers or on pricey card stock, handwritten with
collages or designed on a computer using different fonts. They can be
purchased for anywhere from ten cents to ten dollars; some are free,
or just the cost of a stamp (Block and Carlip 1998: 4).
Increasingly, zines are now being published on the
internet, and conventional paper zine production often involves
computers. With respect to the latter, most zinesters retain the DIY
ethos and the look and feel of original zines. So today, even when
zine producers key and mark-up their texts using a computer they will
still cut and paste texts and images onto each page after it has been
printed, and then scan or copy these pages as they are.
Young people, who are the majority of zine
producers, become involved in zine-ing for all sorts of reasons, and
their zines take diverse forms. For example, Daddy's Girl, by
nine-year-old Veronica (a.k.a. Nikki) grew out of the death of her
father when she was six, and was inspired by her older sister's zine
making (Taryn Hipp, discussed later in this paper). Veronica writes
about herself, her family and her friends. The first issue of her
zine is 16 pages long and measures 4.5 inches by 5.5 inches (11cm by
14cm). She includes photos of her family and of herself, and lists
her favourite things and what she would wish for if she had three
wishes.
In his first issue of archáologie
francaise, Caleb (19 at the time) wrote about the death of his
grandfather. This issue is a series of photocopied and stapled pages
of a size that reminds you of small religious tracts. Inside are
copies of the death announcement of his grandfather, images of
medicines and surgical tools and the zine is bound down one side with
a supermarket "special" label. His second issue contains
soul-searching poems apparently inspired by images found in a medical
school resource catalogue and included in the zine ("Budget Hands-On
Eyeball-give your students an in depth look into the organ of
vision"). This issue is covered in thin, flesh-pink cardboard with a
hand-printed three-colour caduceus medical symbol. The cutout texts
and pictures in this zine have been attached to the pages by means of
old photo corners and then photocopied. His third issue is a set of
reflections on his relationships with girls, his friends, and
himself. It comprises a burgundy cardboard, handsewn envelop
containing two small booklets (approximately 2 inches by 2.5 inches,
or 4cm by 5cm): Part One and Part Two.
Fifteen year-old Athena, a Filipino-Chinese living
in Lungsod ng Makati, Manila, began producing her online zine,
Bombs for
Breakfast, in 2000 (Athena 2000). Her
white text on a red background is stark and provocative, and her
website includes articles from her hardcopy zine, Framing Historical
Theft, as well as journal entries, a well-used message board, a guest
book for visitors to 'sign', and a set of pages on the defunct
sub-pop band, Hazel. The website also includes lists of books she's
reading for pleasure (e.g., Hannah Arendt's On Violence) and for
English classes at the international school she attends (e.g., Joseph
Conrad's Heart of Darkness), and her comments on these books, along
with a collection of texts she has published in school magazines and
so on. Her hardcopy zine is a vehicle for exploring and discussing
"Flipino Chineseness," food, travel, and language. Her writing
includes themes such as homophobia, racism, classism, imperialism,
student-friendly teaching, the politics of golf, and the like.
Carla De Santis's ROCKRGRL began as a disgusted
response to the ways her fellow women musicians were portrayed in the
rock media. ROCKRGRL is a zine about and for women in the rock
industry (DeSantis 1997: xi).
Ciara (20 years) publishes a 'queer/bisexual'
online zine (Ciara
2000a) and publishes writing from her
website in a hardcopy format (Ciara 2000b). The main page of her
website has an aqua blue background with the text set onto a white
inset column, that is studded with pink stars. Her pages are devoted
to the personal and political: she critiques rap music and racist
lyrics, writes about identity and ex-lovers, and posts
"confessionals'" about her enemies, likes, dislikes and wrongdoings.
Her webpage contains an archive of previous postings, and an
interactive message board where Ciara and readers of both the online
and offline zines she produces can leave messages and comments. Her
page also links to a large number of other online zines.
Zines use a range of textual forms including
straight prose, poems (e.g., Paul's Above Ground Testing), literary
and film narratives (e.g., Deeply Shallow edited by Jason Gurley),
cartoons and comic strips (e.g., Jeff Kelly's Temp Slave!), clipart
(e.g., Sean Tejaratchi's Crap Hound), collages and so on. They are
thematically diverse. A sample of zines we have surveyed deal with
the following kinds of themes: personal tough times and lows (e.g.,
Steve Gevurtz in Journal Song #1); being bisexual or queer (e.g.,
Ciara 2000a, Abraham Katzman's Flaming Jewboy and I'm Over Being
Dead); dishwashing in restaurants and diners in the U.S. (e.g.,
Dishwasher Pete's Dishwasher); fine arts (e.g., Cyberstudio); thrift
shop shopping (e.g., Al Hoff's Thrift SCORE); being fat (e.g., FAT
girl, Marilyn Wann's Fat!So?); paganism (e.g., Madelaine Ray's The
Abyss); the 1970s (e.g., Candi Strecker's It's a Wonderful
Lifestyle); collecting things (e.g., Otto van Stroheim's Tiki News,
Thrift SCORE); being temp workers or work in general (e.g., Jeff
Kelly's Temp Slave, Julie Peasley's McJob, various issues of
Cometbus); true crimes and murder stories (e.g., John Marr's Murder
Can Be Fun); feminism (e.g., Riot Grrrl, Mimi Nguyen's Aim Your Dick
and Slant, Toad's I'm Not Shy…I Just Hate People); music, especially
punk music (e.g., Riot Grrrl, Losergurrl, gutterbunny et al.'s
Bondage Girl); popular media images (e.g., Betty Boob and Celina
Hex's Bust); the 'secret history' of wars, global companies and so on
(e.g., Iggy in Scam); movies and/or movie making (e.g., Russ
Forster's 8-Track Mind); death (e.g., Caleb 2000, Kimberley in the
speak easy); other zines (e.g., Angel 1999, Factsheet 5);
skateboarding/snowboarding; visiting restricted- or no-access areas;
UFOs; conspiracy theories; fetishes, and music.
A zine may specialize in a single theme across all
its issues, or cover diverse themes within single issues or across
issues. In all instances, the writer-producers are passionate-at
times to the point of obsession-about their subject matter and want
to share ideas, experiences, values, analyses, comments and critiques
with kindred spirits. Despite widespread claims that contemporary
young people are apolitical or apathetically political (e.g., Craig
and Bennett 1997; Halstead 1999), many zinesters write intensely and
with a great deal of caring about the politics of alternative
cultures and the politics of the everyday-race-ethnicity, class, sex,
gender, work, identity, the body, eating, etc. They voice their
opinions loud and clear in their textual productions.
According to Stephen Duncombe (1997: 2), zinesters
are busy creating culture more than consuming readymade 'culture',
and many are interested in rewriting what counts as 'success'.
They celebrate the everyperson in a
world of celebrity, losers in a society that rewards the best and the
brightest. Rejecting the corporate dream of an atomized population
broken down into discrete and instrumental target markets, zine
writers form networks and forge communities around diverse identities
and interests. Employed within the grim new economy of service,
temporary, and 'flexible' work, they redefine work, setting out their
creative labor done on zines as a protest against the drudgery of
working for another's profit. And defining themselves against a
society predicated on consumption, zinesters privilege the ethic of
DIY, do-it-yourself: make your own culture and stop consuming that
which is made for you. Refusing to believe the pundits and
politicians who assure us that the laws of the market are synonymous
with the laws of nature, the zine community is busy creating a
culture whose value isn't calculated as profit and loss on ruled
ledger pages, but is assembled in the margins, using criteria like
control, connection, and authenticity (ibid.).
To some extent Business (corporate media) has
muscled in on zines, as they have on 'alternative cultures' more
generally. Occasional television shows or books for young people
feature a zinester as the main protagonist (CBC
Television 2000; Wittlinger 1999). Other
approaches include cajoling young people to produce their work as
mainstream compilations or how-to-do-it books (e.g., Block and Carlip
1998; Carlip 1995), or by posting websites touted as 'online zines'
but that are really for selling products (e.g., Abbey Records 2000;
Duff 2000). Many 'faux zines' now exist on the market. Slant,
produced by the Urban Outfitters clothing chain includes a 'punk
rock' issue, and the Body Shop's Full Voice praises those who are
'rebelling against a system that just won't listen' (Duncombe 1999:
n.p.).
Most zines and zine-related cultural practices
remain steadfastly outside the publishing mainstream. They define
themselves against conventional publishing culture and poach off it.
As we have seen, corporate publishing culture itself has poached more
or less successfully in its own terms off zine culture. So the
defining and poaching goes two ways. There is, however, an important
difference. Business corporate 'faux zine-ing' tends to be highly
strategic, in the sense developed by Michel de Certeau (1984), in
relation to the everyday practices of consumers. By contrast, the
operating logic of zines is often highly tactical--once more in the
sense developed by de Certeau. One of our central concerns in this
chapter is to explore zines in terms of a concept of tactics, and to
suggest how educators and learners might be able to draw insights
from zine culture to develop pedagogies of tactics. We are interested
in the extent to which pedagogies of tactics might be better adapted
to preparing many young people--especially those from non-dominant
social groups--for handling the 'fast' world (Freidman 1999) than
more conventional pedagogical approaches which by more or less
exclusively into a strategic logic of producers.
zines and
pedagogies of tactics:
de Certeau is a wonderfully subversive and subtle
writer. Perhaps it is on account of this that his work has remained
relatively marginal within education. Whatever the reason, it is
unfortunate because there is enormous potential in his approach to
issues of power and subordination for critically informed educational
practice. Two common postures within language and literacy education
provide useful starting points for considering zines in relation to
some of de Certeau's central ideas in ways that help point us toward
potentially fruitful pedagogies of tactics.
The first posture might be summarized like this.
We are moving into a postindustrial world in which large sections of
the 'middle' have disappeared and work and rewards have become
increasingly polarized. For a few there will be high skill, high
value-added, well-rewarded work that draws on high order
symbolic-analytic knowledge and skills. Even to get lower level work
will require higher levels of literate and symbolic competence than
in the past. As (literacy) educators we must aim to teach higher
order skills to as many as can handle them and make absolutely sure
no learners fall through the basic literacy net. Indeed, even basic
literacy now needs to be seen in terms of problem solving and
trouble-shooting abilities that can be transferred to frontline work,
as well as in terms of the traditional 3Rs.
The second posture concerns the study of media.
According to this, media shape up individuals's understandings of the
world as passive consumers of TV, newspapers, magazines, the Internet
and advertising absorb worldviews that at best dumb them down and
that at worst undermine their own interests to the benefit of
powerful groups. Hence, we need to teach (critical) media studies to
help learners decode media messages so they can resist the way these
messages position us. Various techniques and procedures are adopted
and adapted from fields like discourse analysis, critical language
awareness, semiotics, critical literacy, etc., and taught as
antidotes to being passive and/or duped.
Without in any way wanting to denigrate such
postures, not least because we (have) subscribe(d) to them ourselves,
we also sense a need to come up with some new pedagogical crafts and
orientations, including some that can be thought of as pedagogies of
tactics.
In The Practice of
Everyday Life, de Certeau develops a
conceptual framework based on distinctions between producers and
consumers, and strategies, uses and tactics. Producers (the strong)
are those who create and maintain and impose disciplined spaces. They
have the position and power to prescribe social orders and
syntactical forms (discourses, timetables, procedures, the
organization of space and things within it, etc.). Producers include
governments, urban planners, corporations, professional associations,
legislatures, private utilities companies, scholarly and academic
leaders, executives, and so on. Producers, in effect, shape dominant
social structures. Consumers, on the other hand, are constrained to
operate within these disciplined spaces or structures. (Of course,
producers in one context are to some extent consumers in others,
albeit typically consumers with greater power to negotiate these
spaces than 'everyday people'). Thus, for example, inhabitants of
government housing consume what has been produced for them-as do
users of public transport and road networks, students, prisoners, and
purchasers of diverse goods and services and media available on the
market. Consumers are always and inevitably constrained by what
producers serve up as disciplined discursive spaces, and the
commodities attaching to these.
The distinction between 'strategies' and 'uses and
tactics' parallel that between producers and consumers. Strategy,
according to de Certeau, is an art of the powerful-producers. These
'subjects of will and power' operate from their own place (a
'proper') which they have defined as their base for controlling and
managing relations. This place (or 'proper') is an enclosed
institutional space within which producers regulate distributions and
procedures, and which has 'an exteriority comprised of targets or
threats'(de Certeau 1984: 36). For example, professional scientists
define what counts as doing science, build science faculties to
police apprenticeships to science, and regulate who can receive
qualifications and tickets to practise as scientists. The justice
system defines the conditions under which convicted prisoners will
live. Education departments regulate what students may and must
acquire as formal education and how they must perform in order to be
certified as successful, and so on. Strategy operates on a logic of
closure and internal administration (Buchanan
1993). 'Strategy equals the
institutional', says Ian Buchanan, and is the force 'institutions
must exact in order to remain institutions' (1993: n.p.). Hence, the
strategic 'can never relax its vigilance, the surveillance of its
parameters must be ceaseless. The strong must protect themselves and
their institutions from the weak' (ibid.).
For de Certeau (1984), 'uses' and 'tactics' are
arts of the weak, by means of which the weak make disciplined spaces
'smooth' and 'habitable' through forms of occupancy. Through uses and
tactics consumers obtain 'wins' within their practices of everyday
life. de Certeau illustrates 'uses' by reference to North African
migrants being obliged to live in a low-income housing estate in
France and to use the French of, say, Paris or Robaix. They may
insinuate into the system imposed on them 'the ways of "dwelling" (in
a house or in a language) peculiar to [their] native Kabylia' (ibid.:
30). This introduces a degree of plurality into the system.
Similarly, the indigenous peoples of Latin America often used
the laws, practices, and
representations imposed on them … to ends other than those of their
conquerors … subverting them from within … by many different ways of
using them in the service of rules, customs or convictions foreign to
the colonization which they could not escape (de Certeau 1984:
32).
'Tactics' involve the art of 'pulling tricks'
through having a sense of opportunities presented by a particular
occasion-possibly only a literal moment-within a repressive context
created strategically by the powerful. Through uses and tactics 'the
place of the dominant is made available to the dominated' (Buchanan
1993: n.p.). According to de Certeau, a tactic is
a calculated action determined by the
absence of a proper locus ...The space of a tactic is the space of
the other. Thus it must play on and with a terrain imposed on it and
organized by the law of a foreign power. It does not have the means
to keep to itself, at a distance, in a position of withdrawal, foresight,
and self-collection: it is a maneuver "within the enemy's field of
vision,"... and within enemy territory. It does not, therefore, have
the option of planning, general strategy ... It operates in isolated
actions, blow by blow. It takes advantage of opportunities and
depends on them, being without any base where it could stockpile its
winnings, build up its own position, and plan raids ... This nowhere
gives a tactic mobility, to be sure, but a mobility that must accept
the chance offerings of the moment, and seize on the wing the
possibilities that offer themselves at any given moment. It must
vigilantly make use of the cracks that particular conjunctions open
in the surveillance of proprietary powers. It poaches them. It
creates surprises in them ... It is a guileful ruse (original
emphasis; 1984: 37).
Buchanan helps clarify what is at stake here by
distinguishing between 'place' and 'space.' Buchanan construes
'place' as the 'proper' of the strategy of the powerful. Place is
'dominated space' (Lefevbre) or 'disciplined space' (Foucault).
Space, on the other hand, is used by Buchanan to refer to
appropriated space. Tactics, says Buchanan, are means by which
consumers convert places into spaces. In this, consumers employ
tactics like 'bricolage' and 'perruque' to 'make do' by 'constantly
manipulating events in order to turn them into "opportunities" ' (de
Certeau 1984: xviii). Very ordinary examples of tactics include
stretching one's pay packet to allow for a few 'luxuries' every now
and then, producing a dinner party out of a few simple and available
ingredients, inventing words on the spur of the moment, and so
on.
de Certeau thinks of consumers's everyday
creativity in terms of trajectories that can be mapped as a dynamic
tracing of temporal events and acts. (the precise obverse of passive
receiving and absorbing). 'In the technocratically constructed,
written, and functionalized space in which consumers move about
[i.e., the place of producers and their productions], their
trajectories form unforeseeable sentences, partly unreadable paths
across a space' (1984: xviii). These trajectories, or transcriptions
of everyday ways of operating, 'trace out the ruses of other
interests and desires that are neither determined nor captured by the
systems in which they develop' (ibid.).
Thinking about zines in terms of trajectories adds
a dynamic that can move our analyses beyond zines as merely exotic
and static artifacts. We look at them, instead, as vibrant, volatile,
thriving social practices that describe deep currents and concerns
within youth culture. We can explore zines as enactments of tactics
on enemy terrain, and on a number of levels. We may begin this kind
of exploration by considering how zines often employ tactical
maneuvers of bricolage and la perruque (de Certeau 1984).
Bricolage refers to the 'artisan-like
inventiveness' of consumers's everyday practices whereby they use
whatever comes to hand in carrying out these practices. de Certeau
refers to bricolage as 'poetic ways of "making do" ' (ibid: xv, 66),
and as 'mixtures of rituals and makeshifts' (ibid: xvi). He
celebrates the bricolage-like practices of consumers as they go about
their everyday lives. Such bricolages are often extraordinarily
ordinary, yet underwrite effective modes of living and being on
unfriendly terrain.
The life of a community, for example, is made from
the harvest of miniscule observations, a sum of microinformation
being compared, verified, and exchanged in daily conversations among
the inhabitants who refer to both the past and to the future of this
space. As an old lady who lives in the center of Paris leads her
life:
Every afternoon she goes out for a
walk that ends at sunset and that never goes beyond the boundaries of
her universe: the Seine in the south, the stock market to the west,
the Place de la R¾publique to the east … She knows everything
about the caf¾s on the boulevard, the comparative prices, the
age of the clients and the time that they spend there, the lives of
the waiters, the rhythm and style of people circulating and meeting
each other. She knows the price and the quality of the restaurants in
which she will never lift a fork [Petonnet 1982; see also Mayol 1994]
( de Certeau 1997: 96).
The daily murmur of this secret creativity
furnishes her necessary foundation and is her only chance of success
in any state intervention (ibid.).
The 'mixtures of rituals and makeshifts' that are
bricolages-like those orchestrated in the old lady's walks-are
integral to the practice of zines as creative appropriations rather
than strategic productions. To use de Certeau's concepts, zines are
mostly 'miniscule observations' and conglomerations of
'microinformation.' A good example is provided by Dishwasher Pete and
his zine Dishwasher. This zine literally traces--documents--a
trajectory of poetic ways of making do on a daily basis.
Pete's life goal is to work as a dishwasher in
every U.S. state. Dishwasher provides accounts of his work in various
restaurants and his reflections on life. Pete does not own a car or
have a fixed address. He stays with people he meets via his
zine--crashing on their lounge room floors until he quits his job and
moves on. Much of the detailed commentary in Dishwasher focuses on
inequities in the food service industry, behind-the-scenes critiques
of restaurant owners, work anecdotes from other dishwashers, and such
like. His bricolage is a 'critique of class and privilege from a
unique viewpoint which preserves [his] personal freedom, self esteem,
and well-being' (Vale 1997: 11).
Interestingly, much of de Certeau's work traces
the collapse of revolution-overthrowing oppressive regimes by
force-as a viable means for transforming 'the laws of history' (1984:
25) and suggests, instead, that the art of 'putting one over' the
established order on its own home ground is a means for undermining
these orders from within. One way of doing this is through a tactic
identified by de Certeau as la perruque-French for 'the wig.' This is
a '[a] worker's own work disguised as work for his [or her] employer'
(ibid.).
La perruque differs from stealing or pilfering
because nothing of significant material value is actually stolen (the
worker uses scraps or leftovers that would ordinarily be thrown out).
Likewise, it is not absenteeism because the worker is 'officially on
the job' (ibid.). Instead, the worker diverts time to his or her own
needs and engages in work that is free and creative and 'precisely
not directed toward profit' (ibid.). It may be something as simple as
a secretary writing a love letter on company time (and using a
company computer and their paper and mailing system) through to
something much more complex such as a cabinet maker using a work
lathe to create a piece of furniture for his home (and using timber
offcuts from the for-profit-work and that he picks up from the scrap
heap to build his chair). Thus, '[i]n the very place where the
machine he [or she] must serve reigns supreme, he [or she] cunningly
takes pleasure in finding a way to create gratuitous products whose
sole purpose is to signify his own capabilities through his [or her]
work and to confirm his [or her] solidarity with other workers or his
family through spending his [or her] time this way' (original
emphases; de Certeau 1984: 25-26).
'La perruque' captures the deviousness of tactics
and captures ways in which '[e]veryday life invents itself by
poaching in countless ways on the property of others' (de Certeau
1984: xii). Many hard copy zines are, in fact, perruques, and would
not exist without the possibility of poaching on others' property. To
some extent this involves poaching on material resources. A
not-for-profit ethos can be sustained, subversively, by means of
perruque.
I had a temp job working in the mail
room of an insurance company that was promising me full-time
employment. I thought, "Hey--this will be good. I can deal with this
work; it's easy, I get benefits, I get a regular paycheck …" then
they reneged and said they were bringing in someone from another
department to take over my job. Anger and access to paper and copiers
motivated me to produce the first issue [of the now-famous Temp
Slave]-everything coalesced at once" (Jeff Kelly in conversation with
Vale, 1996: 22-23).
La perruque even can help us understand young
people's job choices: 'I was showing a zine to a friend and
coincidentally its producer was employed in her office mailroom.
She'd always thought he was too talented for the job but suddenly
realised why he stayed there …' (Bail 1997: 44).
Sometimes the material resources that are poached
actually become the substance of the zine. R. Collision, for example,
worked in a photocopying shop and was amazed at the kinds of images
people brought in for copying-everything from mugshots, to photos of
operation scars, to pictures of body parts and pornography. Collision
was so fascinated by these windows onto the human condition that he
made double copies of interesting images and kept one copy for
himself. Then, as he describes it, from 'the graphics I had
accumulated at work, I decided to publish an image compilation book
which would say "Recycle this" on its cover, and began copying as
many pages as I could at work. Eventually I had enough sheets to
publish 200 copies of a 300-page book' (in conversation with Vale
1996: 43).
In other cases, zinesters' practices of la
perruque involve poaching on abstract or intellectual 'property' in
order to appropriate space. V. Vale speaks of zines as a grassroots
response to a crisis in the media landscape: 'What was formerly
communication has become a fully implemented control process.
Corporate-produced advertising, television programming and the PR
campaigns dictate the 21st century "anything goes" consumer
lifestyle' (Vale 1996: 6). Numerous zine and zine-like productions
poach upon and subvert corporate media productions as exercises in
'culture jamming', parody and exposé.
At one level this is evident in practices as
direct and straightforward as literally turning media images (in) on
themselves, or by combining images and tweaking texts to produce
bitingly honest social commentaries that everyone everywhere can read
and understand--a kind of global literacy. This kind of tactic,
wonderfully employed in Adbusters's critique of Bennetton's attempt
to evoke an 'equality' and 'global village' ethos in the fashion
world (see Lankshear and Knobel 2001, this volume) is widely
practised within zine culture.
At another level, strategic productions--or
enacted strategies on the part of producers--in the form of
'official' versions of how we should be and do are poached, preyed
upon, and otherwise made into opportunities to turn place into space
by tactical means. For example, Taryn Hipp writes in the online
version of her zine Girlswirl: 'Being an "overweight" girl is not
easy. When I look around all I see are these pictures of skinny women
in revealing clothes standing next to a handsome man' (Hipp
1999: 1). Taryn uses her zine as a
personal space: she critiques images of women in the media; candidly
discusses her relationship with her boyfriend, Josh; openly describes
being a member of a rather unconventional family; and so on. While
not a direct 'attack' on or resistance to popular media, Girlswirl is
the product of Taryn's 'making space' in the niches and crevices of
institutions such as mainstream magazines and television by thumbing
her nose at the formal structures and strategies of these
institutions. Her hand crafted paper zine sits nicely alongside her
website, which in addition to showcasing excerpts from her zine, also
includes a weblog (similar in concept to a diary, and can be added to
at will) and is often asynchronously interactive thanks to email
responses from readers etc. Her online zine and social commentaries
are further supported by an email discussion list. Taryn is not so
much out to change the world, as to declare her position within
it:
I am happy with the way I am. I am
happy with the way I look. I am happy being 'overweight'. I used to
worry about what other people thought of me. I have pretty much
gotten over that. It wasn't easy. It never is (Hipp 1999: 1).
In his inimitable way, Dishwasher
Pete also deftly creates his own 'space'
within the formal world of work and communicates this for a wider
audience in Dishwasher. Using texts, images and his own experiences
in creating his zine, Pete critiques mainstream mindsets about what
young people 'should' do and be. For example, he recounts critiquing
social assumptions and institutions from a very young age-which in
large part he attributes to growing up desperately poor. While he was
still in primary school, Pete recalls analysing and 'busting' the
myth of upward social mobility through education by means of his
observations of the microinformation of everyday life. He
recalls:
No matter how poor you are, you're
expected to pretend that someday you'll be a doctor. Every year the
nuns at our school would ask, "What are you going to be when you grow
up?" Destitute kids would get up and crow about how they were going
to be some great lawyer-this is what you were supposed to say. I
would always say I wanted to be a house painter, because I remembered
watching one with a paintbrush in one hand, a sandwich in the other,
his transistor radio playing while he sat on a plank brushing away in
the sun. I thought, "That's the job for me-I could do that!" The nuns
were never happy when they heard this: "A house painter?! Are you
sure you don't want to be a doctor?" "No, ma'am" (original emphasis;
in conversation with Vale 1997: 8).
In addition to critiquing social institutions and
myths, and as we've mentioned already, Pete's zine is not just about
dishwashing in countless restaurants across the U.S., but is a deeply
thoughtful and thought-provoking critique of work and economic
inequality. Indeed, Dishwasher
Pete himself actively side-steps
'baby-boomer' work ethics and turns the proliferation of 'McJobs' to
his own ends (cf., Howe and Strauss 1993). As he puts it:
I'm addicted to that feeling of
quitting; walking out the door, yelling "Hurrah!" and running through
the streets. Maybe I need to have jobs in order to appreciate my free
leisure time or just life in general. … Nowadays, I can't believe how
personally employers take it when I quit. I think, "What did you
expect? Did you expect me to grow old and die here in your
restaurant?" There seems to be a growing obsession with job security,
a feeling that if you have a job you'd better stick with it and
'count your blessings' (op. cit.: 5, 6; see also Duncombe
1997).
By no means all zines employ tactics in the kinds
of ways we have illustrated here. But many zines reflect
sophisticated expertise in the use of tactics in the sense that their
author-producers '[pinch] the meanings they need from the cultural
commodities … offered to them' (Underwood 2000: n.p.). Zinesters are
often highly adept at appropriating spaces of dominant culture for
their own uses, or of otherwise making these spaces 'habitable.'
Some important points for educational practice
generally and literacy education specifically flow from our attempt
to explore zines in the light of de Certeau's conceptual frame. One
fairly obvious implication is that for all the value there is in
addressing critical analyses of media texts and other cultural
artifacts within curricular learning, it is also important to
understand how consumers take up these commodities. Doubtless the
world will and should be transformed. Meanwhile we need to make it
'habitable.' There is much to be learned from those who we classify
as learners and/or in need of learning in terms of how they make
places habitable, how they pinch meanings to make do, and how having
enough people making do successfully might act back on dominant
culture.
Buchanan makes an important series of points here.
He notes that theorists often see strategy and tactics as
oppositional terms, and thereby assume that de Certeau's approach
belongs to a weaker category of resistance (Buchanan 1993). In other
words, it is often thought that tactics are merely 'reactive forces,
a practice of response' (ibid.: n.p.). Buchanan notes that, on the
contrary, tactics 'define the limits of strategy' and force 'the
strategic to respond to the tactical.' Hence, tactics contain an
active as well as a reactive dimension. So, for example, prisoners
determine the level of security required in a given prison. Users of
non-standard Englishes determine the degree of policing needed on
behalf of standard English. Zinesters help to determine the degree of
diversity required in establishment publisher lists. In a context
where tactics are strong, healthy, many and pervasive, the fact that
the strategic machines are always one step behind when they need to
be one step ahead becomes apparent (ibid.). The situation could
become stressful for producers. Could 'armies' of tacticians up the
ante to the point where strategies pop? Our hunch is that it is worth
testing this out.
Perhaps in schools we spend too much time trying
to kit kids up to perform within strategically defined parameters of
success. This, paradoxically, often leads to engaging in practices
that actually dumb kids down-such as enlisting them in moribund basic
literacy remediation programs, or engaging them in painting by
numbers activities to familiarize them with dominant genres. This
kind of approach can subvert many genuine 'smarts' that
extraordinarily ordinary practitioners of tactics-including the
so-called 'literacy disabled'-have, and that could productively be
built on.
One of our favorite examples here concerns a Year
7 student, Jacques, who told us 'I'm not keen on language and that. I
hate reading. I'm like my Dad, I'm not a pencil man' (Knobel 1999,
2001). His teacher concurred, describing Jacques as 'having serious
difficulties with literacy.' Jacques did all he could to avoid
reading and writing in class, although he collaborated with family
members to engage successfully in a range of challenging literate
practices outside school. These included producing fliers to attract
customers to his lucrative holiday lawn mowing round, and
participating in Theocratic School each week, where Jacques regularly
had to read and explain and give commentaries on texts from the Bible
to groups of up to 100 people.
Jacques's literacy avoidance behavior in class
yielded a classic use of tactics with respect to the Writers Center
his teacher had established in one corner of the classroom, where
students could work on the narratives they had to produce for their
teacher. During a two week period we observed him spending several
hours at the Writing Center making a tiny book (6cm by 4 cm or 2" by
1") containing several stapled pages. On each page he wrote 2 or 3
words which made up a 'narrative' of 15 to 20 words (for example:
'This is J.P.'s truck. J.P. is going on holiday in his truck. J.P.
likes holidays in his truck. The End'). Other students found these
hilarious when he read them out loud to them, and he eventually
produced a series of six 'J. P. Stories.'
His teacher's response was negative and highly
critical. She was not impressed and saw his activities as 'very
childish' and as a means of avoiding writing and of not taking too
seriously something he could not do. Yet Jacques's tactical approach
to making this literacy learning context 'habitable' showed precisely
the kind of 'spark' that could serve him well in all kinds of real
world contexts. It also inchoately contains a critique of much
classroom activity (what's the point of it? How is it relevant?) that
is consistent with formal research-based critiques of non-efficacious
learning (cf. Gee, Hull and Lankshear 1996: ch 1). A teacher who
could appreciate and celebrate tactics might have been able to reward
the potentially fruitful and genuinely subversive element of
Jacques's 'trick' and extend it pedagogically.
We want to argue that zines provide the kind of
tactical orientation that would help teachers and learners develop
pedagogies of tactics to supplement pedagogies that render unto
producers. Such pedagogies would identify, reinforce, and celebrate
tactics when they occur, and invite other participants to consider
alternative possible tactical responses to the same situation. This
might take some time out of being on task within formal learning
activities, but with the chance of stimulating and enhancing native
wit, survival potential, critical thinking, and creative subversion.
It may be worth contrasting here the capacity of a Dishwasher Pete to
handle the impact of a new work order in which the middle is suddenly
decimated and where many middle level workers and managers experience
their lives and worlds collapsing when their jobs no longer existed.
A good tactician always has somewhere to move. Under current and
foreseeable conditions of work, teachers as much as their students
(will) need well-honed tactical proficiency in order to obtain the
meanings they need. Many of us in education might benefit by refining
our capacity to pinch and poach on the property of education
producers. In so doing we might contribute something to the tactical
prowess of all who are compelled to be education consumers. Our
argument is that zine culture is a likely place to include in our
efforts to understand and develop pedagogies of tactics. This work is
greatly assisted by the close study of subjectivity in relation to
zining. An individual's sense and enactment of self is tied
intimately to their ability to celebrate the 'everyperson' and the
microinformation of everyday life, and to practice poetic ways of
'making do'.
zines,
subjectivity and pedagogy:
The role of education in relation to personal
development has been massively complicated during the past two
decades. Such phenomena as intensified migration and intercultural
exchange, the demise of former longstanding 'models' and 'pillars' of
identity (e.g., well-defined gender norms) and the linear life
course, displacement of modernist/structuralist ways of thinking
about persons and the world by
postmodern/poststructuralist/postcolonialist perspectives, the rise
of radically new forms and processes of media, and an emerging new
globalization have been prime movers of this complication. They have
intersected in ways that generate profound challenges to knowing how
and what to be in the world at the level of subjecthood. They have
also helped to complicate aspiring, emerging, and established
educational reform agendas in areas of equity, gender reform, and the
like.
The individual's sense of self, now commonly
referred to as subjectivity rather than identity, is shaped at the
confluence of diverse sociocultural practices and discourses (Rowan
et al. 2001: ch 2) . 'Subjectivity' refers to 'our ways of knowing
(emotionally and intellectually) about ourselves in the world. It
describes who we are and how we understand ourselves, consciously and
unconsciously' (MacNaughton 2000: 97; Alvermann and Hagood 2000:
197). Individuals negotiate cultural understandings about acceptable,
proper, or otherwise valued modes of gendered or ethnic being in the
course of shaping and reshaping their own senses of themselves.
Cultures circulate meanings about what it is to be a valued kind of
girl or boy, or member of a particular ethnic grouping, and so on.
Poststructuralist perspectives in particular have re-emphasized the
point that while powerful and regulatory social fictions about gender
and ethnicity are circulated and endorsed by diverse institutions and
discourses, it is also possible for alternative and less restrictive
representations to be constructed, circulated and validated. For
example, strands of feminist research have focused on the personal
and political significance of alternative representations and images
of being a girl or a woman. Donna Haraway speaks here of new
'figurations' (such as her notion of cyborgs-Haraway 1985). Such
'figurations' are not merely 'pretty metaphors [but] politically
informed maps [that] aim at redesigning female subjectivity'
(Braidotti 1994: 181; Rowan et al 2001: ch 3).
From this kind of standpoint, reform agendas
within education in areas like gender and ethnicity involve
identifying dominant narratives of gender and ethnicity and then
working to develop, promote and validate counternarrratives that
recognize there are multiple ways of being, say, a girl or a boy.
Moreover, such counternarratives work from the premise that
individuals may align themselves with more than one version of being
a girl/woman or boy/man in the course of their life or, even, in the
course of a day (Rowan et al. 2001: n.p.). This is to see 'the self'
or one's personhood as 'continually constituted through multiple and
contradictory discourses that one takes up as one's own' (Davies
1993: 57).
The educational implications of this are clear
enough. Teachers and learners concerned with moving beyond
limitations of dominant cultural fictions of valued modes of gendered
and ethnic being are necessarily involved in entertaining,
discussing, acting out, producing, etc., counternarrative
representations. Many zines, especially the burgeoning array of
electronic zines, offer fruitful and diverse insights into how
different people try to work out or create their subjectivities. Many
online zines make available spaces for discussing, critiquing,
reporting, etc., different people's experiences of negotiating
subjectivity. Two examples are indicative here.
Slant/Slander
Mimi Nguyen is a self-labelled Asian-American
bi-queer feminist anarchist who has created a range of hard copy
zines (e.g., Slant, Slander) and cyberzines (e.g., Slander, Worse Than Queer). Nguyen,
refugeed from Viet Nam at age 1, identifies punk rock as the original
driving force behind her zines. More recently, however, she has
focused on issues and injustices occurring at the interstices of
race-ethnicity and sexism.
Ngyen's zines grew out of her desire to network
with people of colour in the punk music scene who-like her-were
struggling with identity issues. She uses her zine, Worse Than Queer,
to deconstruct 'Asian-ness' as an anarchist, feminism as a bi-queer,
and race in general as a young graduate student at Berkeley
University. Her goal is to turn long-standing assumptions about Asian
women on their head by refusing to submit to the 'Oriental sex
secrets' and 'Suzy Wong' Asian personae people foist upon her (cf.
Nguyen in conversation with Vale 1997: 54). Nguyen draws herself as a
punk rocker complete with piercings, as shaven-headed and toting a
gun, and in martial arts poses that are definitely 'in your face'.
Her zine, Slander, is definitely 'in your face' as well-no holds are
barred and Nguyen refuses to throw dummy punches.
In a phone interview over three years ago I was
asked, "What do you think of Asian women who bleach or dye their
hair; do you think they're trying to be white?"
That day my hair was
chin-length, a faded green. I said, "No."
…
It is already suggested by dominant "common sense"
that anything we do is hopelessly derivative: we only mimic
whiteness. This is the smug arrogance underlying the issue-the
accusation, the assumption-of assimilation: we would do anything to
be a poor copy of the white wo/man. Do you buy this? Are you, too,
suspicious of "unnatural" Asian hair: permed, dyed, bleached? But if
I assert the position that all hair-styles are physically and
socially constructed, even "plain" Asian hair, how do we then imagine
hair as politics?
Who defines what's "naural"? Does our hair have
history? What does my hair say about my power? How does the way you
"read" my hair articulate yours?
Asian/American women's hair already functions as a
fetish object in the colonial Western imaginary, a racial signifier
for the "silky" "seductive" "Orient." Our hair, when "natural," is
semiotically commodified, a signal that screams "this is
exotic/erotic." As figments of the European imperial imagination,
Suzie Wong, Madame Butterfly, and Miss Saigon are uniformly racially
sexualized and sexually racialized by flowing cascades of long, black
shiny hair. Is this "natural" hair? Or is hair always already
socially-constructed to be "read" a certain way in relation to
historical colonial discourse? Is this "natural" hair politically
preferable? "purer," as my interviewer implicitly suggests? (Nguyen
1998; Angel 1999: 91).
Slander is a
bricolage of Mimi's views about race and gender, articles written by
friends and colleagues, bold and evocative sketches she has done
herself, and in the hard copy version of the zine, collages and other
artwork done by her or by friends, and so on, making Slander more than an
'amateurish' cut-and-paste production. It qualifies in more than one
sense as a 'poetic way of making do.'
(source:
<http://misterridiculous.com/reviews/non_music/>)
Nguyen's writing and artwork are loud voices of
protest, as are her other projects such as 'exoticize this!'
(<http://members.aol.com/critchicks>), a virtual Asian-American feminist community she
founded in the late 1990s, and a 1997 compilation zine titled,
Evolution of a Race Riot. This zine was and is 'for and about people of color in
various stages of p[unk]-rock writing about race, "identity," and
community' (Nguyen 2000: n.p.).
Nguyen is producing a new literacy in her zine,
Slander, (and
elsewhere) that is rewriting traditional conceptions of and roles for
Asian/American women. This literacy concerns finding ways to draw
attention to assumptions and stereotypes of Asian and Asian/American
women at work in popular media. This includes critiquing texts in
'underground' magazines that profess to be anti-establishment and
pro-young people (e.g.,
Maximumrocknroll 1998, issue 198), but
that often simply perpetuate images of Asian women as sex toys or as
exotica. She also carries her message in the strong, line-drawn
images she creates herself for her zine. By these means, Nguyen is
creating a space for herself that grows directly out of the
microinformation of her everyday life as a punk, bi-queer,
Asian/American woman who grew up speaking Vietnamese in Minnesota and
who recently has given over her shaved head and combat fatigues for
red lip gloss and spiky heels. Mimi does not claim that she is
speaking for, or even to, everyone and refuses to make concessions to
non-Asian readers of her zine.
[Mimi] wrote about how someone didn't
enjoy her zine because they claimed they "couldn't relate" (being
some hip white riot grrl type), but Mimi says "duh, of course you
can't relate" (Squeaky n.d.).
Digitarts: grrrowling
Although numerous reports (e.g., National Science
Foundation 1997, Roper Starch Worldwide 1998) indicate boys and young
men spend more time on the internet than girls and young women, the
number of online zines created by young women appears to greatly
outnumber the number created and currently maintained by young men.
Internet searches using advanced search engines and techniques, along
with consulting a series of popular online zine webrings and indices
, suggest that young women dominate the online zine world, unlike in
the offline, meatspace world where young men seem to publish more
zines than women.
Digitarts is an online multimedia project
space constructed originally by young women for young women, but now
also encompasses disadvantaged youth and people with disabilities
(Digitarts 2000). The Digitarts' website explores different
conceptions and constructions of female identity through poems,
narratives, journal pages, 'how-to-do' texts, and digital images, and
presents alternative perspectives on style, food, everyday life and
commodities. The Australian-based project is 'dedicated to providing
young women who are emerging artists and/or cultural workers with
access to the knowledge and equipment necessary for the development
of their arts and cultural practices in the area of new technologies'
(see <http://digitarts.va.com.au/welcome.html>). It aims to challenge 'the "boys toys" stigma often
associated with electronic equipment,' and to 'provide young women
with access to information technology in a non-threatening "girls
own" space, to encourage involvement in technology based artforms'
(ibid.). Digitarts provides a venue for emerging multimedia artists
to showcase their work, and seeks to attract young women to the field
by providing web-development courses and beginner and advanced
levels, and by publishing a cyberzine called grrrowl.
grrrowl
(<http://digitarts.va.com.au/grrrowl/>) is an ongoing, collaborative publishing endeavor,
remarkable for its long life (many zines on the internet only ever
reach the 'first issue' stage). Like all authentic (not-for-profit,
DIY) zines, grrrowl's production is not regular. It follows the beat of projects
conducted by Digitarts. Its first issue focused on grrrls and
machines. Each contributor constructed a page that is either a
personal introduction-in the style of a self-introduction at a
party-or contains poems or anecdotes about women and technology.
Hyperlinks to web sites engaging with a similar theme also define
each writer's online self, and her self as connected with other
selves. The second issue of grrrowl provides alternative readings of
fashion trends and body image, perspectives of contemporary culture
and everyday life and the like.
grrrowl #4
(<http://digitarts.va.com.au/grrrowl4/>) investigates the theme, 'Simply Lifeless' and
documents online 'the everyday lives of young women in Darwin and
Brisbane'. Its thesis is: 'Our culture informs our everyday activity.
Our everyday activity informs our culture.' The issue celebrates the
'everyperson' and everyday-ness of their lives (cf. de Certeau 1984;
Duncombe 1997), with eight young women-ranging in age from 12 years
to 25 years, broadcasting webpage-based 'snapshots' of their lives.
These snapshots include digital videos of personally important events
such as composing music on a much-loved guitar, a daughter feeding a
pet chicken and so on, or hypertext journals that span a day or a
week and that also include photographic images such as digitised
family album snaps, scanned hand-drawn graphics, 3D digital artwork,
and so on. For example, 12-year-old Gabriell writes about a typical few days in her life that involve
waking early, dressing and going to school, who she plays with at
school during lunch and snack breaks and what they do, and what she
does after school. She talks a little about what she usually has for
dinner, and about going to stay with her father every Saturday night.
He lives near her mother and her partner, Stephen (Gabriell n.d.). In
documenting the 'banal' and 'everyday', this issue of grrrowl aims at
'increasing the range of criteria by which our cultures are measured
and defined' (grrrowl #4: n.d.).
grrrowl #5 is
subtitled Circle/Cycle and focuses on 'things that are round and things that go
round' (grrrowl #5: n.d.). The main menu is a spoof of a woman's diet menu
that uses images from a 1960s Australian
Women's Weekly magazine. The food items
listed for various times of day (breakfast, beauty break: morning,
lunch, beauty break: afternoon, dinner) are hyperlinked to interviews
with interesting women such as comic-strip artists (dubbed 'ladies of
the black ink'), circus performers, bookstore owners, and so on.
Other entries in the zine include a range of summer recipes, a
detailed account of how to get rid of cockroaches in the house,
recounts of food explorations and adventures, and a
zine-within-a-zine link to the Losergurrl zine (n.d.): one
young women's personal offshoot of Digitarts projects.
This fifth issue employs a diverse range of text
and image genres. The front page for Losergurrl, for example, is a
collage of images cut from 1960s and 1970s women's magazines. Each
image is hyperlinked to reviews of grrrl punk rock music; interviews
with women in the music industry; rants about personal demons, safety
issues, and women's comic books; book reviews; online games; treats
such as recipes for natural beauty products, DIY files that deal with
everything from DIY-Cryonics, to gardening and getting rid of pests
in ecologically sound ways.
Items in the grrrowl issues are steeped in
cultural analyses of everyday life and subjectivity. The zine
presents online magazine-type commentaries and is used to establish
and nurture interactive networks of relations between like-minded
people. It is used to explore and present cultural membership and
self identity through digital and textual bricolages of writing,
images, and hyperlinks. The Digitarts' work is also a keen-edged
critique of 'mainstream' discourses in Australia and elsewhere. For
instance, the editorial in the third issue of grrrowl explains how to subvert
the default settings on readers' internet browser software, and
encourages young women to over-ride or side-step other
socially-constructed 'default settings' that may be operating in
their lives. Digitart projects challenge social scripts which
allocate various speaking and acting roles for young women that cast
them as passive social objects or as victims (e.g., 'This is not
about framing women as victims--mass media vehicles already do a
pretty good job of that' Girls in Space n.d.), and that write certain
types of girls (or grrrls) out of the picture altogether (cf. Cross
1996; Green and Taormino 1997).
Indeed, 'bricolage' is a key concept in this
tactical work: the girls and young women involved in producing the
various issues of grrrowl experiment with new technological literacy
skills that have recently come to hand (e.g., VRML programming,
language, PERL script, shockwave applications), they use whatever
technological equipment they can access at the time, or they poach,
scan and insert images from found texts-often placing mainstream
images of women or objects often associated with women beside
non-mainstream commentaries or narratives in order to underscore the
different world views from which the Digitarts are operating. In this
way, grrrowl-along with the other Digitart projects-offers a coherent
alternative to the commodification of youth culture, and the concept
of 'youth' as a market category is made too complex for corporations
to use. grrrowl is a cyber space in which young women can become
producers, and not merely consumers, of texts and culture (cf.
Duncombe 1997, 1999; Knobel 1998).
Just as many zines can provide graphic and
hard-hitting insights into everyday uses of tactics in the practice
of social critique and commentary and in the enactment of alternative
politics, so they provide equally valuable insights into the nature
and politics of subjectivity. As will be obvious by now, however,
vexed issues converge around the place and roles zines might assume
within classrooms in publicly funded schools. We will turn to this
and other issues briefly in our concluding section. Meanwhile, it
seems clear that teachers and learners who happen one way or another
to become familiar with zines and zine culture will be helped in
their efforts to negotiate subjectivity and subject positions within
classroom pedagogy, as well as to bring a range of perspectives and
familiarity with diverse and hybrid text forms to themes and tasks
arising within the formal curriculum.
issues and
possibilities:
Zines provide firm ground from which to
interrogate literacy education as currently practiced in schools and
offer hard evidence that young people are not held necessarily in a
'consumer trance' or are without sophisticated critical capacities.
Even large corporations recognize that many young people are media
smart to a degree that their parents were not and never will be. For
example, the Nike faux zine, U Don't
Stop, avoids including the globally-famous
Nike swoosh logo on any of its pages. It seems that the absence of
the logo is an intentional nod to young people's 'media savviness.'
Stephen Duncombe explains,
When I called Wieden & Kennedy's
Jimmy Smith and asked him why the Nike logo was conspicuously absent
from U Don't Stop he explained that, "The reason [the zine] is done without
a swoosh is that kids are very sophisticated. It ain't like back in
the day when you could do a commercial that showed a hammer hitting a
brain: Pounding Headache. You know, it's gotta be something cool that
they can get into" (1999: n.p.).
It may well be that no matter what teachers try to
do in bringing young people's literacy practices into the world, it
will never be sophisticated enough for their students. Or, as happens
all too often with 'new' literacies, zine literacy will become
domesticated within the classroom so that the zines are produced
according to the teacher's vision and purposes, rather than according
to the grassroots, personal motivations of authentic zines.
For our own part, we remain unclear about exactly
what direct implications zine literacy has for schools. In optimistic
moments we think that the proper literacy business of schools should
be to take due account of any new literacy that is demonstrably
efficacious. From this perspective, the role of people involved in
studying and interpreting new literacies is to continue politicising
literacy education and research. Protesting claims that all young
people today are politically apathetic and unmotivated would be
another way of approaching zines in education. This would entail
reading and discussing meatspace and cyberspace zines in
classrooms.
On the other hand, for all their potential for
fruitful educational appropriation, zines are often controversial,
visually and mentally confronting, and regularly deal with topics
taboo to classrooms. If some parents get up in arms about witches in
storybooks, imagine how they would react to articles and zines
entitled: Murder Can be Fun, "Sex and Sexuality, and Why I Jack Off So Much Instead of
Talking to Girls", "Real Skinheads Take a Stand… A Feature on Red,
Anarchist, Anti-Fascist and Activist Skinheads", etc.; cf. Williamson
1994: 2). One way out of this dilemma might be to focus on the ethos
of zines--the potent do-it-yourself writing and reading ethic for
young people--and acknowledge the manner in which and extent to which
new literacy practices evinced in hard copy and cyberzines engage
young people as active and often critically sophisticated
participants in and creators of culture.
Alternatively, perhaps a revamped critical
literacy that is enacted as 'tactics,' 'clever tricks,' a knowledge
of how to get away with things, a suspicion of grand narratives, and
not simply as critical analysis of media texts as commonly practised
offers a way of maximising students' media smarts in literacy
education. Projects could include a public radio segment conducted by
students that critiques some element of media culture each day over a
four week period; a commercially published booklet of interviews with
local zinesters about their zines and what zines enable them to do on
a day-to-day basis, and organised into themes that speak to young
people; a Mavis McKenzie-type letter writing campaign (see Bail 1997:
44) that subtly spoofs large corporations or institutions (students
could write to a munitions company asking for their magazine
catalogue, to the department of education or large hospital asking
for a copy of their recycling policy, to local town councils asking
for their youth policy, etc.)--these letters could then become the
basis for a multimedia 'position paper' or commentary.
The trick, we believe, is to approach the place
and role of zines within school-based (literacy) education
tactically. Here as well, the medium is the message. Whatever other
capacities and dispositions they display, smart teachers and smart
learners are tactically adept. Zines present us with a tactical
challenge; an ideal learning and implementation problematic for new
times. How can we get the kinds of orientations, ethos, perspectives,
world views, orientations, insights, etc., encapsulated in zines into
classroom education when to do so necessarily involves maneuvering on
enemy terrain? If we cannot work out how to do this and get away with
it-with the assistance of endless models of tactics available within
the practices of everyday life, of which zines are but one-we
probably should not try to incorporate zines and core zine culture
values into formal learning. By the same token, if we cannot engage
in tactics of this kind it might be time to question our credentials
for being educators under current and foreseeable conditions. For it
seems likely that in the 'fast' world that is now upon us, those who
survive well will increasingly be 'tactically competent.'
References
Abbey Records (2000). MusicEzine. Downloaded 26
December, 2000 <http://www.musicezine.com>
Alvermann, D. and Hagood, M. (2000). Critical
media literacy: research, theory, and practice in "New Times".
Journal of Educational
Research. 93(3): 193-205.
Angel, J. (1999). The
Zine Yearbook: Volume III. Mentor, OH:
Become the Media.
Athena (2000). Bombs for Breakfast. Downloaded 19
November, 2000 <http://www.bombsforbreakfast.com/>
Bail, K. (1997). Deskbottom publishing.
The Australian Magazine. May 3-4. 44.
Block, F. and Carlip, H. (1998). Zine Scene: The Do It Yourself Guide to
Zines. Los Angeles: Girl Press.
Braidotti, R. (1994). Nomadic Subjects: Embodiment and Sexual Difference in
Contemporary Feminist Theory. New York:
Columbia University Press.
Buchanan, I. (1993) Extraordinary spaces in
ordinary places: de Certeau and the space of post-colonialism.
SPAN 36.
Downloaded 4 December, 2000 <http://wwwmcc.murdoch.edu.au/ReadingRoom/litserv/SPAN/36/Jabba.html>
Carlip, H. (1995). Girl
Power: Young Women Speak Out. New York:
Warner Books.
CBC Television (2000). Our Hero. Downloaded 22
November, 2000 <http://www.ourherotv.com/home.shtml/>
Chu, J. (1997). Navigating the Media Environment:
How Youth Claim a Place through Zines. Social Justice. 24(3):
71-85
Ciara (2000a). Documentation of a Riot: Online Journal. Downloaded 19 November, 2000 <http://ciara.diaryland.com>
Ciara (2000b). A
Renegade's Handbook to Love and Sabotage.
Issue 1. Portland, OR: Ciara.
Craig, S. and Bennett, S. (Eds.) (1997).
After the Boom: The Politics of Generation
X. Bennett. Lanham, MD: Rowman and
Littlefield.
Cross, R. (1996). Geekgirl: Why grrrls need
modems. In K. Bail (Ed.), DIY
Feminism. Sydney: Allen & Unwin.
77-86.
Daly, S. and Wice, N. (1995). alt.culture: An A-to-Z Guide to the '90s-Underground,
Online, and Over-the-Counter. New York:
HarperCollins.
Davies, B. (1993). Shards of Glass: Children Reading and Writing Beyond
Gendered Identities. Sydney: Allen &
Unwin.
de Certeau, M. (1984). The Practice of Everyday Life.
Vol. 1. Berkeley: University of California Press.
de Certeau, M. (1997). The Capture of Speech and Other Political
Writings. Trans. Tom Conley. Minneapolis,
MI: University of Minnesota Press.
de Certeau, M., Giard, L. y Mayol, P. (1999).
La Invencion de lo Cotidiano. 2. Habitar,
Cocinar. Trad. Alejandro Pescador. 2o edn.
México, D.F.: Universidad Iberoamericana.
DeSantis, C. (1997). Foreword. In V. Kalmar,
Start Your Own Zine. New York: Hyperion. xi-xii.
Digitarts (2000).
Front page. Downloaded 1 January, 2000 <http://digitarts.va.com.au>
Duff (2000).
Downloaded 26 December, 2000 <http://www.duff.net/tx/duff/>
Duncombe, S. (1997). Notes from the Underground: Zines and the Politics of
Alternative Culture. New York: Verso.
Duncombe, S. (1999). DIY Nike Style: Zines and the
corporate world. Z Magazine. December. Downloaded 4 January, 2001.
<http://www.lol.shareworld.com/ZMag/articles/dec1999duncombe.htm>
Friedman, T. (1999). The
Lexus and the Olive Tree: Understanding Globalization. New York: Anchor Books.
Gabriell (n.d.). typically…. GRRROWL. 3.
Downloaded 1 January, 2001 <http://digitarts.va.com.au/grrrowl4/gabriell/typicalday.html>
Gee, J., Hull, G. and Lankshear, C. (1996). New
Work Order. Sydney: Allen & Unwin.
Girls in Space (n.d.). Downloaded 2 January, 1999 <http://digitarts.va.com.au/gis/>
Goldhaber, M. (1997). The attention economy and
the net. First Monday. Downloaded 2 July, 2000 <http://firstmonday.dk/
issues/ issue2_4/goldhaber/>
Green, K. and Taormino, T. (Eds.) (1997).
A Girl's Guide to taking Over the World:
Writings from the Girls Zine Revolution.
New York: St Martin's Griffin.
grrrowl #4 (no date). Issue 4. Downloaded 1
January, 2000
<http://digitarts.va.com.au/grrrowl4/>
grrrowl #5 (no date). Shortcrust. 5. Downloaded I
January, 2000 <http://digitarts.va.com.au/grrrowl5/quote.html>
Halstead, T. (1999). A politics for Generation X.
The Atlantic Monthly. August. Downloaded 23 November, 2000
<http://www.theatlantic.com/issues/99aug/9908genx.htm>
Haraway, D. (1985). Manifesto for Cyborgs:
Science, Technology, and Socialist Feminism in the 1980s.
Socialist Review. 80: 65-108.
Hipp, T. (1999). Editorial. Girl Swirl. 1.
Downloaded 26 December, 2000 <http://www.girlswirl.net/thefanzine/issueone.html>
Howe, N. and Strauss, R. (1993). 13th Gen: Abort, Retry, Ignore, Fail? New York: Vintage Books.
Knobel, M. (1998). Paulo Freire e a juventude
digital em espacos marginais. In M. Gadotti (Ed.). Poder e Desejo: Paulo Freire a as Memorias Perigosas de
Libertacao. Porto Allegre: Artes
Medicos.
Knobel, M (1999). Everyday Literacies: Students, Discourse and Social
Practice. New York: Peter Lang.
Knobel, M. (2001). "I'm not a pencil man": How one
student challenges our notions of literacy "failure" in
school. Journal of Adolescent and Adult
Literacy. 44(5): 404-419.
Lankshear, C. and Knobel, M. (2001). Mapping
postmodern literacies: A preliminary chart. In M. Ylä-Kotola, J.
Suoranta, and M. Kangas (Eds.), The
Integrated Media Machine, Vol. 2.
Hämeenlinna, Finland: Edita (forthcoming).
Losergurrl (2000).
Downloaded 1 January, 2001 <http://digitarts.va.com.au/losergurrl/main.htm>
National Science Foundation (1997). U.S. Teens and
Technology. Gallup Poll Executive Summary. Downloaded 13 July, 2000
<http://www.nsf.gov/od/lpa/nstw/teenov.htm>
Nguyen, M. (1998). Me and my hair trauma. Slander.
Downloaded 4 January, 2001
<http://worsethanqueer.com/slander/hair.html>
Nguyen, M. (2000). Zine. Downloaded 4 January,
2001 <http://worsethanqueer.com/slander/zine.html>
Roper Starch Worldwide (1998). Roper Youth Report. Princeton,
NJ: Roper Starch Worldwide.
Rowan, L., Knobel, M., Bigum, C. and Lankshear, C.
(2001 in press). Boys, Literacies and
Schooling: The Dangerous Territories of Gender Based Literacy
Reform. Buckingham: Open University
Press.
Squeaky, J. (n.d.). Non-music Reviews. Downloaded
5 January, 2001 <http://misterridiculous.com/reviews/non_music>
Underwood, M. (2000) Semiotic guerrilla
tactics--Michel de Certeau. Downloaded 4 December, 2000
<http://www.cultsock.ndirect.co.uk/MUHome/cshtml/index.html>
Vale, V. (Ed.), (1996). Zines. Vol. 1. SanFrancisco:
V/Search.
Vale,
V. (Ed.), (1997). Zines. Vol. 2. SanFrancisco:
V/Search.
Williamson, J. (1994). Engaging Resistant Writers
Through Zines in the Classroom. October. Rhetnet: A Cyberjournal for Rhetoric and
Writing. Downloaded 1 January, 2001
<http://showme.missouri.edu/~rhetnet/judyw_zines.html>
Wittlinger, E. (1999). Hard Love. New York: Simon &
Schuster.