David Bollier

Book tours are known for being grueling odysseys. While it wasn’t a breeze to speak at two dozen events in ten weeks of travel in Europe, UK and the US, it was a joy for me to connect with so many different commoners. I found my visits often amounted to field research filled with unexpected discoveries and chance insights. At events I invariably wound up meeting several fascinating commoners and learning about some amazing research initiative. 

My general conclusion:  The commons world is quite robust -- but it’s not terribly visible to mainstream culture. So the book tour confirmed the aspirations that my coauthor Silke Helfrich and I had for the book, Free, Fair and Alive. We wanted to generate some new concepts, vocabulary, and analyses to bring commoning into sharper focus. That forced us to dig more deeply into the inner dimensions of commoning and into its political implications, especially as it bumps up against property rights and state power.

I'm happy to say that all of our efforts paid off in the end. I kept meeting people who are all too ready to move beyond conventional politics and explore the rich possibilities of the commons. 

To recap for newcomers: Free, Fair and Alive is one of the most comprehensive, in-depth looks at what the commons means in contemporary life. Silke and I spent almost three years trying to make sense of the countless commons we had observed over the preceding 15 years. From her village in Germany and on trains criss-crossing Europe, and from my office in Amherst, Massachusetts -- with occasional in-person work sessions -- we plunged into a serious mutual debriefing about what we had each learned. We wanted to see if we could conceptualize the commons in ways that truly reflect what we had witnessed in Mexico and Greece, India and Germany, the US and UK, and many other places.

Halfway through our research, we realized with a shock that much of the language we were using was seriously wrong and misleading. When using words like “individual,” “rationality” and “resources,” for example – the standard vocabulary of modern economics – we found ourselves locked into a deeply troubling worldview. Do we really wish to regard human beings -- as economists ostensibly do -- as isolated individuals striving to maximize their material self-interests and “externalizing” costs on to “nature.” Is this what "rationality" is?  

Artists tend to be finely attuned to subtle vibrations of our culture. They hear and see things, and intuitively know what needs to be amplified.Then they come out with creative, sometimes shocking interpretations that often make us realize, “Oh wow, so that’s what I’ve been sensing all this time!” I think that’s one reason for the upswell of artistic works about the commons these days. Something's going on.

This topic is very much on my mind because of ongoing collaborations with a number of American performing artists and cultural workers who see the commons as a template to creating a new future. The group’s members include the Hinterlands and PowerHouse Productions in Detroit, Michigan; the Ethics and the Common Good Project at Hampshire College; the Schumacher Center for a New Economics in Amherst, Massachusetts; Double Edge Theatre in Ashfield, Massachusetts; and the HowlRound Theatre Commons team in Boston.

The Arts, Culture and Commoning working group is interested in using commons-based approaches “to transform the landscape of arts and culture toward equity, abundance, and interdependence as part of a social movement engaged in and in conversation with this urgent moment. Cooperation, collaboration, mutuality, and co-creation bring us together.”

The group recently released a statement explaining its vision and ambitions. One paragraph reads:

“It is our belief that art can and must play a significant role in shaping culture….Art and artists play an important role in helping people process and grieve inevitable collapses of our current systems and institutions in a culture of disempowerment, disconnection, isolation, disembodiment, distraction, and anxiety. Art is a powerful antidote as a force for social cohesion, embodiment, sustainability, and mutuality. Art catalyzes imagination, creativity, and cooperation in any culture, informing the character of social, economic, and political realities. In recognition of the destructive nature of capitalism, we seek to make art that questions the prevailing capitalist framework and looks to the commons for alternative forms.”

British songwriter and musician Adrian Renton decided it was time to confront the outrages of our time by resurrecting a classic form – folk protest music. Inspired by a 1960s album, “Moving On,” by Scottish musician Nigel Denver, Renton pulled together some friends from Essex, Berkshire and London to re-record some very old English songs. They also wrote some new songs in the same spirit of protest. 

The result is the Wicca Men's recent album Albion’s Darkness, a moving history lesson and contemporary political commentary wrapped in some haunting music. The album draws a straight line from the peasants’ revolt in Essex in 1381 to contemporary struggles against neoliberal capitalism and Boris Johnson. The dynamics of enclosure are brutally similar then and now, even if the means used today – international trade law, intellectual property law -- are sometimes different. 

One song, “Goblins,” is particularly timely even though it was inspired by a Piers Plowman song, “a complex and satirical allegory written by William Langland around 1370, which denounces the greed, falsehood and hypocrisy of the Church and State in England, and also gives the first recorded mention of Robin Hood.” In the new lyrics, Prime Minister Boris Johnson and several Cabinet members are ridiculed as “this troupe of clowns, dressed in friars and wise men gowns / Lying to people to profit to themselves and to keep…/ The Bumpkins down.”

In 1979, I remember reading Lewis Hyde’s stunningly wise essay about the social dynamics of gifts in CoEvolution Quarterly -- the offshoot of the Whole Earth Catalog. I was twenty-three, and immediately chased down the book from which the essay was drawn, The Gift: Imagination and the Erotic Life of Property. The book has gone on to become a classic, especially revered within artistic and cultural circles, enough to warrant a 25th anniversary edition (with the disappointingly flat new subtitle Creativity and the Artist in the Modern World – and in the current edition, How the Creative Spirit Transforms the World).

Hyde’s book explores the strange dynamics of creativity as a mysterious, beautiful gift. While markets try to turn creative works into (private, bounded, inert) property and make money from them, they cannot really understand or explain the origins of creativity; that is an irreducibly human, poetic, and mythological enigma. Yet the culture of giving gifts is profoundly important because it brings people together in enlivening ways and enlarges the human spirit across time and space.

In Hyde’s reckoning, “the gift must always move” – it must constantly circulate if its value is to be sustained. So it is only appropriate that his book has now, finally, inspired a film to showcase the spirit of the gift. The wonderful new documentary film Gift is itself the result of many gifts -- “invisible means of support” from strangers and friends -- given to Canadian director Robin McKenna as she struggled to bring the ethos of the gift to the big screen.

McKenna toiled for years finding and shooting a diverse variety of gift cultures and raising the money to complete the film. And while the theme is inspirational, it is hardly commercially attractive. The film bravely challenges the juggernaut of market culture, showing us that the most valuable things in life are gifts that cannot be monetized; indeed, introducing money into a situation often destroys value and creative vitality.