To what extent is social identity challenged in the characters of Twistov?

“If multiculturalism is to be a goal of educational and political institutions, we need a workable notion of how a social group is unified by a common culture, as well as the ability to identify genuine cultural differences (and similarities) across groups. Whether cultures are inherited or consciously and deliberately created, basic problems of definition like who belongs where or with whom, who belongs and who doesn’t – are unavoidable and the moment we translate our dreams of diversity into social visions and agendas.” (Garcia, 2000)

 In this essay I will be discussing post modernism and the theory of social identity in relation to the characters in ‘Twistov’ with support from Woodward, Giddens and other theorists.

Social identity theory states that societal behaviour will alter along a continuum amid interpersonal behaviour and intergroup behaviour.

“Tajfel (1978) suggested a behavioural continuum bounded by poles describing interpersonal and intergroup forms of behaviour. At the interpersonal end, interactions between people take place on the bias of their individual characteristics, whereas at the intergroup end, interactions are guided primarily by group membership.” (Olson, 1994)

Regarding ‘Twistov’, the interpersonal end of the spectrum is the demonstration of Nastia and Oleg’s relationship as brother and sister. Nastia fears for Oleg’s safety when he disappears, and urgently needs him to return home with her to care for their dying mother. Her constant characterisation as a concerned sister throughout the performance is largely supportive of the interpersonal continuum, specifically due to the fact that the objective of finding her brother continues until the very end of the performance, and her emotions are solely expressive of their relationship.

“Discussion of identity in relation to globalisation has often focused on demise of the importance of the nation state or of local cultures in shaping identities, and especially on the role of new technologies in opening up possibilities for the formation of identity. At the bias of this issue are questions about the extent to which it can be possible for people to rethink their identities and exercise any control over defining themselves in the context of the all-encompassing forces of globalisation” (Woodword 2002)

This quote in particular resonates on an interpersonal level with the character of Angel, struggling to find his uniqueness within the system of diaspora identities. He wants to be himself but also needs to work, live and provide, therefore having no choice but to accept the identity that was handed to him upon entering the United Kingdom.

In contrast, the latter end of the continuum is expressive of groups in society for example; the mother birds of Europe play a large role throughout the performance in creating a confined environment, regardless of the fact that we were walking the streets of Shoreditch. Their stereotypical English traits personified as pigeons creates a light-hearted British environment for the audience to recognise. In contrast, perhaps the stereotypical English birds following us from scene to scene are a subtle commentary on the migrants that are never actually ‘home’. As well as this, by referring to these characters as mother birds, we are reminded of our parents, which almost seems like cruel taunting of the stories being told where by the immigrants have left their home behind to find work or perhaps a new life. Tajfel stated, “Research on intergroup relations, in contrast, naturally tends to favour the social identification model since its subject matter is large-scale social category memberships such as nationality, class, sex, race and religion”. (Tajfel, 2010)

By contrast, to achieve a positive self-concept, individuals are intrinsically motivated to achieve positive distinctiveness. Individuals may be defined by their respective social identity according to the interpersonal, intergroup continuum and as a result, social identity theory states that individuals strive to achieve or uphold positive social identity. Most notably, Eleni is a strong female character that emigrated from her homeland and has created a business working from the bottom up; almost seen as someone to look up to and aspire to be. Consequently, when she was speaking to Doger, although Eleni was calm and established, her persona could be comparable to that of Doger’s, who was jittery and defensive. Furthermore, in the scene, Eleni says ‘I was just like you when I was younger’ which would give Doger hope and an aspiration for the future as well as positive distinctiveness.

 “…We argue that the conditions identified [by Allport] cooperative interdependence and equal status between groups, and institutional support for intergroup contact – motivate subgroups to engage across their differences rather than maintaining ethnocentric distance.” (Kramer 2005)

Building on this, social identity theory specifies a variety of strategies that can be carried out in order to ultimately achieve positive distinctiveness. Behaviour is dictated mainly by the intergroup relationship; primarily the choice of strategy is a product of the perceived permeability and the boundaries of the group. Particularly in this instance, Doger displayed a vulnerable facade rather than a tough exterior when telling Eleni about his home, which could be perceived as his way of ‘getting his foot in the door’ as it were; to become as successful as her.

Social competition is the act of an in-group member seeking positive distinctiveness with the out-group in an attempt at in-group favouritism. Similarly in ‘Twistov’, Vimbai wrote a letter to the company she works for demanding equality and basic rights for herself and other employee’s. Thus creating the ideology that Vimbai’s actions will have positive consequences therefore allowing her to be favoured among other in-group members i.e. migrants in the company. On the other hand, Vimbai’s letter may not be considered important or taken earnestly by the company due to gender or ethnicity, even if her act of intrepidness may be favoured among her in-group.

Woodward states,

 “Migration is differently experienced by woman and men. At many points in the migration of world labour it has been men who have played the major role, for example with men in colonized societies being obliged or compelled to carry out forced labour.”

She then goes on to say,

“…There were little distinctions made between woman and men in the work that people were forced to undertake, for example as mine workers and labourers as well as domestic servants. However there is still limited information on colonized woman, another example of woman being ‘hidden from history’, because woman had less chance to tell their own stories and were largely classified as dependants”. (Woodward 2002)

Woodward’s reasoning of women’s stories not being told is relevant to Vimbai’s importance in ‘Twistov’. Her personal story as well as her morals as a strong female character are admirable and are expressive to the overall plot of ‘Twistov’.

“A sizable portion of creativity research has been devoted to the study of the effect of social environments on the individual’s creativity. Among others, variables such as family size, birth order, parenting and schooling style, extracurricular activities, cultural background and socioeconomic status have been identified as potential predicators of individual differences in creativity.” (Taylor 2013)

The social creativity among the characters is the prerequisite for an occupation among the in-group i.e. English nationalists. Their background and culture among other things is an inerrant strive for equality that makes their drive to work a prominent trait amid the characters. Primarily, Diasporas deserve to earn their place, which is why they put all their energy into the social creativity that is the public sector of work.

“Ernesto Laclau uses the idea of dislocation to explain the ways in which he sees modern societies as having no clear centre or core. He argues that social class; hitherto the central, overarching function of economic organisation and determinant of all other forms of social relations, which gives meaning to identity, has been de-centred. Class has been moved off centre by globalisation and dislocation and there are now a multiplicity of centres; a mass of new places from which new identities emerge”. (Woodward 2002)

With reference to ‘Twistov’, there is no fundamental class structure amid traditionalists and migrants. In most cases, they are similar in more ways than some however traditionalists still believe they have an authority and jurisdiction over those that weren’t born in the country. “Higher status groups fight to protect their evaluative superiority; lower status groups struggle to shrug off their social stigma and promote their positivity” (Ferguson 2016)

To what extent is social identity challenged in the characters of Twistov? Firstly, the continuum of intergroup and interpersonal behavior is a symbolic ideology of the migrant community currently residing in the UK, which was reflected passionately through the performances we saw. Secondly, an inherent motivation for positive distinctiveness was well established amid the performances, especially by Eleni and Doger, which differs from an interpersonal continuum. Thirdly, social competition and social creativity edicts a passionate desire to accomplish ambitions, which was exhibited powerfully through the different goals and dreams each individual character possessed. Ultimately the different aspects of social identity theory are themes in which these types of performances can be implemented in a society that is still irredeemably antagonistic towards migrants.

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Bibliography

Paula M. L. Maya, Michael R Hames-Garcia (2000) Reclaimed identity: Realist theory and the predicament of post modernism: University California Press

Mark P. Zanna, James M. Olson (2013) The psychology of prejudice: Psychology Press

Shelley Mckeown, Reeshma Haji, Neil Ferguson (2016) Understanding peace and conflict through social identity theory: Springer 

Majorie Taylor (2013) The oxford Handbook of the development of imagination: OUP USA

Michel Argyle (1994) The Psychology of interpersonal behaviour: Penguin UK

Barry M. Straw, Roderick Moreland Kramer (2005) Research in organisational behaviour: An annual series of analytical essays and critical reviews: JAI Press

Kath Woodward  (2002) Understanding Identity: UK: Hodder Education

Anthony Giddens (1991) Modernity and self identity, Self and society in the late modern age:

Cambridge: Polity Press

 Peter J. Burke, Jan E. Stets (2009) Identity Theory: Oxford University Press, 

TEATROVIVO (2017) Twistov [Online Press Release] At: http://www.teatrovivo.co.uk/twistov/?gclid=Cj0KCQiA0vnQBRDmARIsAEL0M1mI86RfBm3aoy4Atb421_YeFnO3_nk25lHSeyNHJdYvIqhgWhT62loaAowxEALw_wcB