political or cultural theater?

The events in the Middle East are portrayed as people versus their despotic rulers, innocent masses against corrupt states, utopian crowds versus crony capitalists of the nouveaux riches, religious versus secular, and tribalism versus the cold raison d’état of the statism. That politics is perceived as a theater of expressivity against corrupt and oppressive rulers, good guys versus bad guys, is commonplace. In the wake of the financial collapse in the US and the rest of the world in 2008–09, the bad guys were the Wall Street bankers, who, behind our backs, and while benefiting from our trust (in the money that we’ve safely deposited in their banks), they went ahead and engineered all kinds of “immoral” (rather than illegal) transactions. The financial collapse was thus seen in terms of individuals defecting as a group from common sense behavior against the majority of innocent actioners. Similarly, the middle east uprisings are portrayed as an action of an innocent majority versus a corrupt minority in power. But how come such a minority managed to rule the uncorrupt majority? By sheer force? What political discourse and analysis hardly reveal is the amount of consensus behind political power, whatever the degree of coerciveness involved: indeed, it all comes to a matter of degree rather than deeply rooted principles. That oppressors and oppressed belong, therefore, to the same cultural landscape (ethos), that they may share similar cultural values, is what is often overlooked once the veil of consensual coercion has been broken—but to what kind of political order exactly? In other words, once the consensus that lies behind political power (from the most totalitarian to the most liberal) seems to have been broken, amid, for instance, street protests and violence, political power is de facto portrayed as “out of sync”—or out of touch—with the masses, hence hiding (repressing) the very idea of consensus even behind coercion and oppression, not far away from the consensus that we find in liberal democracies. That is to say, what is occulted here is what protesters are finally aiming at. Thus, when we ask the trivial question, What is it that they want, what is it that they are aiming at?, we get the trivial answer, They want political freedom, uncorrupt governments, and a radical régime change. Whether to some this implies western laissez-faire liberalism, or on the other end, a Muslim radical theocracy or a moderately Islamic liberal government (in the style of the Muslim Brothers), important as it may as an issue, is not what is at stake here, at least not for the centrality of the revolts. We want to unmask what has been left out in all this: the real motivations of the protesters, why they’ve been coming, with their bodies, alone or en masse, day after day. We want an analysis along the following lines: the body, the visible, the gaze, time and (public) space, all of which pertain to a particular political culture. We want to argue that the broad movement launched across the middle east, which is now shaped as a region whose coherence (or lack thereof) is being made and unmade through the protests, targets an entire cultural landscape, between oppressors and oppressed, wealthy and poor, the state apparatuses and those outside them.