The No Manifesto, Rainer's declaration in opposition to the dominant forms of dance
1 media/RainerNO_thumb.png 2021-04-01T16:57:30-07:00 Natalie K Meyers 4b3948ab8901940da5f2eb884c2cc86b3dc6ac22 33948 3 Rainer, Yvonne. "Some Retrospective Notes on a Dance for 10 People and 12 Mattresses Called "Parts of Some Sextets," Performed at the Wadsworth Atheneum, Hartford, Connecticut, and Judson Memorial Church, New York, in March, 1965." The Tulane Drama Review 10, no. 2 (1965): 168-78. Accessed April 1, 2021. doi:10.2307/1125242. plain 2021-04-17T20:34:15-07:00 1965 Rainer, Yvonne. "Some Retrospective Notes on a Dance for 10 People and 12 Mattresses Called "Parts of Some Sextets," Performed at the Wadsworth Atheneum, Hartford, Connecticut, and Judson Memorial Church, New York, in March, 1965." The Tulane Drama Review 10, no. 2 (1965): 168-78. Accessed April 1, 2021. doi:10.2307/1125242. 01 03 1965 Natalie K Meyers 4b3948ab8901940da5f2eb884c2cc86b3dc6ac22This page has tags:
- 1 media/dctermstimeline.png 2021-04-12T00:11:25-07:00 Natalie K Meyers 4b3948ab8901940da5f2eb884c2cc86b3dc6ac22 Genealogy of Refusal Timeline Natalie K Meyers 36 timeline 2021-09-14T21:36:29-07:00 Natalie K Meyers 4b3948ab8901940da5f2eb884c2cc86b3dc6ac22
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Manifest NO
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Becoming fluent in hearing and saying No
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Learning to say "No" starts with us. Practicing how to Say No! More has been gamified in a lighthearted way that has captured the attention of thousands of fans as well as more than a few reviews where gamers confess how "good it feels to play the game" because saying "No" at work can be such a fraught situation (Fizbin 2021).
The below flowchart, created by Shira Peltzman, is another lighthearted but useful tool that streamlines what to do when another project gets added to your pile--but using this flowchart requires being pretty honest with yourself, your capacity, and your joy in a project.
Is an hour spent at work better than an hour spent doing something you love? How can we say NO to projects or tasks, so that we can say YES to things we love? And, even if a project meets all of those requirements, does a not-NO automatically mean a YES? (Peltzman does not end the flowchart with "accept the project," but "consider it." In other words, these are the absolute minimum requirements a project needs to meet, but even that does not mean you should automatically commit to every project that makes it through the chart.)
In learning to say NO, deciding to decline is not always enough, If we're saying "NO" at work we will eventually need to challenge those who supervise us. If a boss pressures us to commit to a new project, stay late to complete a project, and/or maintain a rapid pace of service completion, but with fewer resources, we will need to find practical and effective ways to refuse. Outright saying "No" may sometimes be impossible, but we can remind ourselves to pause and reframe the conversation. We can utilize phrases like:- I can take on this new work, but I will need your help prioritizing my other responsibilities and redistributing the tasks that I'll no longer be able to complete.
- I can complete this project early with your commitment that I'll be given these [new] resources.
- I can help with this if I have the support and efforts of collaborators X, Y, and/or Z.
She cautions that "You need more than a right to say no for no to be effective." She warns that "If your position is precarious you might not be able to afford no. You might say yes if you cannot afford to say no, which means you can say yes whilst disagreeing with something." She implores us that "This is why the less precarious might have a political obligation to say no on behalf of or alongside those who are more precarious" (Ahmed 2017).
Sometimes you say "No!" but your boss can't hear it - that situation is so common the Say No! More videogame has a scenario about it:
That's why we created a genealogy of workplace refusal. By talking about such things, by learning together how to read the story of refusal, we can have a common narrative. We can develop a common acceptance of the language of "No" that allows us to examine dead-ends and the false turns workplace responses to crisis narratives can take. Donna Lanclos urges that in higher education, we should be refusing "quantification, employability narratives, tracking and surveillance, technocentrism, [and the] 'More with Less'" ethos (2019). Looking to the art of dance, Yvonne Rainer's No Manifesto, from Trio A gives us a strong example of how to declare opposition to the dominant forms of our field (Rainer 1965):
Informing ourselves through the kinship diagram in this project, we can recognize false deficits, constructed crises, and other attempts to consolidate power by those in charge. We can see how to say no as a collective, refuse harmful data practices (like in the Feminist Data Manifest-NO), and organize ourselves for collective protest, unionize or strike. We can write and think and negotiate other ways forward that are informed by fictional, feminist, anti-racist, pro-labour, and abundant points of view.
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Asset Framing
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In the above image, Wellspring an artwork by artist Charles Luna, a woman holds a small child in patch of grass in the desert. The viewers' eyes might dance between the cityscape in the background, the artist's model in the foreground, and the desert all around. And yet, our eyes always come back to the centre, to the oasis the pair make. Instead of lamenting the desert and all that they do not have, the woman and child are focused on each other and all they do have when they are together.
Exercises such as engaging with this artwork emphasize "asset framing" over "deficit framing". As articulated by Trabian Shorters,Asset framing is about shifting narratives, so that instead of defining individuals or communities by what they lack, we instead define a people by their aspirations and contributions (Shorters 2018).
In other words, instead of lamenting the mother/child pair's surrounding environment, we instead would define them based on what they have, their hopes, and their contributions to the world around them.
Planning and engaging in work for libraries through the lens of asset framing similarly shifts our perspective. Librarians often find their place "inside" bigger organizations where resources are "never enough", where constructed scarcity, legacies of ableism, sexism, and deficit framing have shaped the culture's norms in more brittle ways even than the library's. In organizations like these, at budget time, service providers in all fields of work often find themselves envious of peers' generous budgets for innovative projects which seem to invariably win out when resources are divvied up.
Decision makers would often rather 'invest' in innovation than budget for maintenance. Managers sometimes hire or promote on this basis too. They place a bet on potential rather than making personnel decisions based on a candidate's actual record of success or provable qualifications. This cavalier "No risk, No reward" mindset is characteristically demonstrated and perpetuated more often by male leaders than female decision makers. Why? Because if you place a bet and come out "ahead" the spoils are "all yours" for your legacy-building? Ironically, just like in the casino, most people who make these sort of gambles time after time don't remember or talk about the inevitable losses which typically outpace their wins. Male dominated organizations like the universities that house our academic libraries can unwittingly ignore this disconnect, rewarding risk taking regardless of its outcomes until inequitable pay structures arise between innovation and service/maintenance and those compensation structures become intractably gendered.
So, where can we go from here? We can start by staging honest conversations about how articulating the need for support improves both innovation and maintenance project outcomes. We can practice being able to say and be heard when we speak that: "If I’m going to do this new project x successfully, I’m going to need to give up other duty y, and get help from z". We can become more articulate and circumspect about saying "No" in our personal and professional lives--it's a way to go about prioritizing our efforts, to stop burning ourselves out, to stop letting ourselves and others down. If you're invited to serve on a gender or racial-majority dominated search committee or panel, just say "No" and suggest alternates who would improve the team. Know how to articulate what would allow you to change your mind about joining but be willing to walk away.
As Ursula K. Le Guin writes in The Left Hand of Darkness, "To oppose something is to maintain it... you must go somewhere else; you must have another goal; then you walk a different road" (Le Guin 2019, 163). We can't afford to continue using a scale that always promotes for innovation or potential--a scale that we will all fail on in different ways when we necessarily focus on maintainer goals like keeping the trains running and the lights on. Let's instead walk down a different road and work towards a new future of academic librarianship, one where we treat cycles of innovation and maintenance like we do the cycle of propagating seeds, sowing them, harvesting our produce, and putting up each season's bounty as preserves for the future.This is more sustainable than competing against each other for dwindling resources where we constantly have to be seeking new ways to prove our worth or justify our work. We're going to keep "looking" too, and moving toward a new kind of "Yes." In dance, Rainer's No Manifesto of 1978 was displaced twenty-six years later by Mette Ingvartsen's YES MANIFESTO (2004). It reads like this:
How long will it take librarians to reclaim "yes" in a way that works for us?