Shawyer dissertation May 2008 final version - The University of ...

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number of interconnected nodes, or points. Each node is connected to at least one otherby ties, or connections. For example, a node could be a computer, a person, or a firm. Theties that connect the nodes could be a communications protocol, a family relationship, ora business partnership. “Flow” is what passes between the nodes along the connections:information, love, gossip, or money (Barney 26). Following Castells’s premise, thisproject uses the concept of network organization to analyze the activities andperformance choices of the Yippies as they created revolutionary action-theater. TheYippie network is built of nodes of individual activists (a hippie, Black Panther, or antiwarcampaigner) and audience members (a passer-by, or President Johnson). TheYippies’ playful public performances act as connections between these nodes. Thepotential for communitas is the flow that moves, by means of the performance, betweenthe nodes of the Yippie network.The network also has potential as a scholarly methodology, as Frenchphilosophers Gilles Deleuze and Felix Guttari demonstrate in A Thousand Plateaus:Capitalism and Schizophrenia (1980). Deleuze and Guttari take the concept of therhizome from biology and use it as a metaphor for their non-hierarchical organizationalstructure—essentially a network of multiple connections between different topics (7).Their nodes include texts, modes of investigation like semiotics, concepts like power, andspecific social materialities. The rhizome or network structure can seem chaotic becauseit is not unified and can extend in multiple directions (8). But its strength lies in theability of the network to continually find new connections between nodes. With therhizome as their organizational structure, Deleuze and Guttari investigate the concept of20
evolution using methodological and conceptual entry points as varied as Marxism,psychoanalysis, drug use, the 1968 student and workers’ uprising in France,totalitarianism, desire, and music. The notion of the rhizome, or network, thus allows formany different points of entry into a philosophical question or object of investigation.This in turn opens up the exploration of marginal or previously silenced narratives(Barney 17).This project uses a modest network methodology to reclaim the marginalizednarrative of the Yippies and performance. While there are many cultural histories of theYippies and the political fervent of late 1960s America, there is no cultural history of theYippies and performance. This project aims to fill that lacuna by connecting threearchives in a conversational network: the political and social histories of the decade thattend to relegate the Yippies to the margins of political activism; the history of theatre inthe 1960s, including the practices and practitioners who inspired the Yippies; and finallythe more recent archive of flash mob performance. 9 Other points of entry into thishistoriographical network are close readings of texts and performances and Kershaw’sdramaturgy of protest, which echoes a network model by embracing multiplicity.Ultimately my project adds to scholarship on the 1960s and the Yippies by offeringconsiderations of performance, and supplements scholarship on the politics and practicesof performance with the new historical example of the Yippies. In the end, I argue thatthe Yippies’ revolutionary action-theater models a performance form highly adaptable toour contemporary era and electronic age.9 As an additional layer of historiographical networking, extracts from these three archives serve as tiesbetween sections of argument in the following chapters.21
Page 1 and 2: CopyrightbySusanne Elizabeth Shawye
Page 3 and 4: Radical Street Theatre and the Yipp
Page 5 and 6: Kokai, Olivia Whitmer O’Hare, Tam
Page 7 and 8: organizational strategies of the an
Page 9 and 10: IntroductionThe Chicago Poster:Cont
Page 12: adical hipsters, or counterculture
Page 20: linguistic theory, the field of per
Page 23 and 24: The language of performance thus al
Page 25 and 26: protest from theatre. 8 Mass demons
Page 27: performative has the potential to e
Page 31 and 32: Realist, suddenly noticed that when
Page 33 and 34: Revolution for the Hell of It is a
Page 35 and 36: The Yippies’ politics are clear i
Page 37 and 38: 2). They embraced a romantic notion
Page 39 and 40: made up of many separate organizati
Page 41 and 42: and a free store on the Lower East
Page 43 and 44: When they formed the Youth Internat
Page 45 and 46: Most of the dozen core Yippies were
Page 47 and 48: acknowledgment that her business sk
Page 49 and 50: The claim of millions of Yippies wa
Page 51 and 52: Man to tease out the New Left’s n
Page 53 and 54: eports from the popular press, test
Page 55 and 56: Image of Yippie Chicago poster.47
Page 57 and 58: surround the Pentagon are a long wa
Page 59 and 60: the Conference for New Politics in
Page 61 and 62: Washington was no stranger to mass
Page 63 and 64: uilding in acts of civil disobedien
Page 65 and 66: had a history of civil disobedience
Page 67 and 68: the crowd into affinity groups by m
Page 69 and 70: Like Abbie Hoffman, Rubin was aware
Page 71 and 72: Krishna” and “Om” to their re
Page 73 and 74: Pentagon began its work for the wee
Page 75 and 76: A respectable horde of respectable
Page 77 and 78: that time was still expected to see
Page 79 and 80:
It didn’t matter if there was dis
Page 81 and 82:
democratic political-economic and c
Page 83 and 84:
social activist Malcolm X, Communis
Page 85 and 86:
The aesthetic of the New Left now t
Page 87 and 88:
straight-laced emphasis on communit
Page 89 and 90:
Unlike the young student politician
Page 91 and 92:
on the improvised actions of variou
Page 93 and 94:
society” by changing, not ignorin
Page 95 and 96:
similar to the very same ones used
Page 97 and 98:
scenery falls. The Yippies loved th
Page 99 and 100:
unrest by the lower ranks of societ
Page 101 and 102:
Don’t rely on words. Words are th
Page 103 and 104:
writing to President Johnson from V
Page 105 and 106:
wasn’t just their situation that
Page 107 and 108:
freshly-shorn young men in army uni
Page 109 and 110:
I also argue that blurring of life
Page 111 and 112:
Armed with a budget of just $15.00
Page 113 and 114:
ounced through the air above the cr
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they ran into again in Chicago when
Page 117 and 118:
Yip-In moved into an unexpected sec
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Yippies had been publishing manifes
Page 121 and 122:
experimental works. Like other New
Page 123 and 124:
not Broadway, was the venue for pla
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adicalism of Off-Off-Broadway conte
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theater, and including it on their
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environment that pays special atten
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meaning or appreciate the aesthetic
Page 133 and 134:
Since Happenings emerged from New Y
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that contrasted visual peaceful pro
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prominence of ordinary actions and
Page 139 and 140:
The costumes of the Yip-In particip
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ecruit, several blocks from the hip
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free stores, or crash pads. In 1969
Page 145 and 146:
The hippies and Yippies also used m
Page 147 and 148:
from their weekday Establishment re
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perform the power of authority and
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commuters the actions and dress tha
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emotion and hope, like the “utopi
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Chapter ThreeThe Festival of Life:
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Double (1938). The Yippies used the
Page 159 and 160:
anti-war views, and movement leader
Page 161 and 162:
Republican candidate Richard Nixon;
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death, it seemed like Humphrey was
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American politicians. We’ll infil
Page 167 and 168:
named themselves the Youth Internat
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if necessary, Mobe was unable to ge
Page 171 and 172:
ut the Yippies’ signs supported a
Page 173 and 174:
craze, offering a special section o
Page 175 and 176:
efforts to bring performances to th
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commentary in the East Village Othe
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which Hoffman designated as ‘medi
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already in Chicago, and prepared to
Page 183 and 184:
Even though many of the demonstrato
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with a fire-cracker throwing crowd
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Hilton to interview passing delegat
Page 189 and 190:
political positions, merged to form
Page 191 and 192:
protest against the order, rules, a
Page 193 and 194:
experience the performance event wi
Page 195 and 196:
The Battle of Michigan Avenue was a
Page 197 and 198:
“It would take an inspired Artaud
Page 199 and 200:
The letters in the Johnson Library
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watching” (Box 66). Korean War ve
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members who felt that the Yippies g
Page 205 and 206:
Dismayed by his lack of action abou
Page 207 and 208:
night of the Battle of Michigan Ave
Page 209 and 210:
Chapter FourFlash Mobs: The Yippie
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that is, they were political only t
Page 213 and 214:
as their primary political and cult
Page 215 and 216:
1969, “Four Days of Rage” campa
Page 217 and 218:
The Festival of Life and the ensuin
Page 219 and 220:
The Yippies’ revolutionary action
Page 221 and 222:
Glasgow, Rome, Vienna, Berlin, Sydn
Page 223 and 224:
and social conventions: flash mobs
Page 225 and 226:
social behaviors, and the technolog
Page 227 and 228:
organized by anyone with access to
Page 229 and 230:
advantage of the dramaturgy of prot
Page 231 and 232:
Yet the insider/outsider dynamic of
Page 233 and 234:
List of AbbreviationsCOREFBIHUACLBJ
Page 235 and 236:
Letter, Roger Light to the Presiden
Page 237 and 238:
Telegram, Marjorie Satthoff to the
Page 239 and 240:
Brown, Joe David, ed. The Hippies.
Page 241 and 242:
Editorial. Chicago Tribune. 29 Aug.
Page 243 and 244:
Higgins, Dick. “The Origin of the
Page 245 and 246:
Karastamatis, John. “Don’t Star
Page 247 and 248:
McMillian, John. “Garbage Guerril
Page 249 and 250:
Rosenberg, Bernard. “Chicago: Blo
Page 251 and 252:
Stewart, M. J. F. and Davis, Lisa.
Page 253:
VITASusanne Elizabeth Shawyer was b
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